Theatre Australia 6(3) November 1981 by UOW Library

NOVEMBER 1981

OPERA THEATRE DANCE

RODNEY FISHER LIFE A N D AR T

OPERAâ&#x20AC;&#x2122;S GHETTO MENTALITY IN HARGREAVE$

Registered by Australia Post - publication No. NB'

The Sydney Theatre Company

figures in a classical landscape with ruins

by Robert David MacDonald

directed by

RODNEY FISHER SETTINGS BY

BRIAN THOMSON COSTUMES BY

ROGER KIRK

Starring

PETER CARRY'LL NEIL FIT2PATRICI JE IAN with

Peter Cous-erTs Linda'Cropper Frank GarfieJeD ScolUHrggins -M atthew Oâ&#x20AC;&#x2122;Sullivan Robert VanJVLaeketenberg

THEATRE COMMENT INFO SHOWBUZZ A LIFE IN THE DAY OF FRANK THRING/A'tfte Legge THREEPENNY OPERA/Gus Worby A.R.T.S. SPONSORSHIP AWARDS EXPANSION AT THE Q / Barry O’Connor RODNEY FISHER/Tony Barclay DOREEN CLARKE/MichaelMorley INTERNATIONAL: NZ/Roger Hal'l/VSA/Karl Levett/ UK/Irving Wardle/YY\ REVIEWS: ACT/NSW/QLD/SA/TAS/VIC/WA GUIDE/A11 that’s happening this month in theatre

4 7 9 11 12

13 14 17 19 24 38

OPERA INFO THE GHETTO MENTALITY/Jw^m Macdonne/l INTERNATIONAL: BAYREUTH/Jo/w Carmody REVIEW/NSW/ACT/Ken Healey GUIDE/What’s on this month in opera

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DANCE INFO ABORIGINAL DANCE IN AMERICA / M Sykes REVIEW/NSW/Æ/// Shoubridge GUIDE/This month’s dance happenings

49 50 52 54

FILM INFO JOHN HARGREAVES/Elizabeth Riddell A GREAT OPPORTUNITY — KATHLEEN NORRIS/ Elizabeth Riddell REVIEW/Killing of Angel Street/Elizabeth Riddell GUIDE/Watch For These

55 56 58 59 60

MUSIC THE AVANT GARDE AND W AGNER/Fred Blanks

BOOKS DOCUMENTS TO STUDY/John McCollum

THESPIA’S PRIZE CROSSWORD

Frank Thring.

EYES OF THE WHITES by Tony Strachan directed by Neil Armfield designed by Bill Haycock with John Posikei Alex, Ron Becks, Roslyn Bobom, Christine Mahoney, Kerry Walker, Peter Whitford NIMROD downstairs

THEATRE AUSTRALIA NOVEMBER 1981

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THEATRE AUSTRAEIA Editor: Executive Editor: Contributing Editors, Dance: Opera: Film: Publishing Consultant: Art Director: Subscriptions Manager:

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Robert Page Lucy Wagner Jill Sykes Justin Macdonnell Elizabeth Riddell Philip Mason Elliot Williams Elly Kamal

BOARD OF DIRECTORS: Ken Horler, Robert Page (Ch).Philip Parsons, Lucy Wagner. ADVISORY BOARD: The above, plus: John Bell, Graeme Blundell, Katharine Brisbane, Brett Casben, John Clark, Michael Crosby, Jack Hibberd, Garrie Hutchinson, Jake Newby, Phil Noyce, Raymond Omodei, Ken Southgate, Marlis Thiersch, John Timlin, Guthrie Worby, Richard Wherrett. ADVERTISING: Janet McDonald, 8th Floor, 36-38 Clarence St, Sydney 2000. (02) 29 1818. STATE REPRESENTATIVES: ACT: Janet Healey (062) 49 2669 NSW: Editors (02) 29 1818 VIC: Suzanne Spunner (03) 387 2651 QLD: Jeremy Ridgman (07) 377 2519 WA: Margaret Schwan (09) 341 1178 SA: Michael Morley (08) 275 2204 Theatre Australia gratefully acknowledges the financial assitance of the Theatre Board of the Australia Council, the Literature Board of the Australia Council, the New South Wales Cultural Grants Advisory Committee, the Arts Grants AdvisoryCommitteeofSouth Australia, the Queensland Cultural Activities Department, the Victorian M inistry for the Arts, the Western Australian Arts Council and the assistance of the University of Newcastle. MANUSCRIPTS Manuscripts and editorial correspondence should be forwarded to the editorial office, 8/36 Clarence Street. Sydney NSW 2000. Tel: (02) 29 1818. Whilst every care is taken of manuscripts and visual material supplied for this magazine, the publishers and their agents accept no liability for loss or damage which may occur. Unsolicited manuscripts and visual material will not be returned unless accompanied by a stamped addressed envelope. Opinions expressed in signed articles are not necessarily those of the editors. SUBSCRIPTIONS The subscription rate is $21 post free within Australia. Cheques should be made payable to and posted to Theatre Publications Ltd, 8/36 Clarence Street, NSW 2000. For institutional and overseas subscription rates see back page. Theatre Australia is published by T heatre Publications l.td, 8/36 Clarence Street, Sydney, NSW 2000. D istributed by subscription and through theatre foyers etc by Theatre Publications l.td, and to newsagents throughout Australia by Allan Rodney-W right. Ty pesetting by Get Set Ty pesetting Pty l.td (Tel: (02) 357 4276). The m aga/inc is printed by KSN, the l.itho Centre, 140 Joynton Arenue. W aterloo 2017. » T heatre Publications l td. All rights reserved except where specified. The cover price is m axim um retail price only. Registered for posting as a periodical Catergory B.

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New look Adelaide Festival. Guest Comment by Jill Sykes. Next year’s Adelaide Festival, under Jim Sharman’s direction, will be more Aust ralian than it ever has been. And so different that the Festival Fringe must be wondering what is left for it to do. A Noel Coward revival, perhaps? Someone wryly suggested at the Press launch of the 1982 Festival program in Adelaide last month. The tone of the Festival can be caught immediately from the brochure. The typi cally bold and brazen Martin Sharp poster leads into a bouyant, multi-coloured lay out in which the varied offerings of the program leap out in big, underscored print. It is a feast of arts events designed to reach out and grab the public’s imagina tion. Sharman stresses his aim to involve participants rather than merely attract onlookers. Unlike previous years, when a major indoor event has been the formal launch ing point, with concurrent lighter enter tainment going on outside, the 1982 Festival will have a single opening cele bration — outdoors, popular and free. It will bring together several groups of performers from the 17-day program to give people a sense of what is to come: a slightly shorter Festival than last year’s but one bulging with ideas that should lead the willing Festival-goer in all kinds of inte resting directions. For example, the effect of 25 years of television on Australia will be explored by Gil Brealey in a video exhibition designed by Brian Thomson to set out thecontext in which people received the world in their houses. It will look at the relationship between reality and fantasy: were we seeing the real events? Mark Thompson, whose ceramic pyra mid of bums attracted so much attention at the 1980 Festival, is being given the opportunity to cement his reputation through an exhibition shared with the photographer Micky Allan, The Pavilion of Death, Dreams anti Desire. Visual artists Margaret Dodd and Tony Coleing have been given the run of Festival Plaza to present their view of the site's past, present and future through sculpture, film and performance. Adelaide writer Rob George has been commissioned by the Stage Company to

observe the centenary of Percy Grainger's birth with a play about his eccentric relationship with his mother, Rose. Percy will also play Grieg's Piano Concerto in A Minor at the Festival — via a piano roll. A new play by Patrick White will be directed by Neil Armfield, designed by Stephen Curtis and have music composed for it by Carl Vine. Called Signal Driver, this play is more reflective than we have seen from White. According to Sharman: "It is a chamber play not unlike some of those by Strindberg — though being Patrick White, there is a hint of vaudeville around the corner." The overseas artists being brought for the Festival are being deployed in two ways. One is as a complete ensemble providing something that would not other wise be seen here: the Grimethorpe Col liery Brass Band from Yorkshire; singers from Southern Italy, the Nuova Compagnia Di Canto Popolare; the event that I am most looking forward to, Pina Bausch's dance-based theatre group from Wuppertal, West Germany. The other way that overseas artists will contribute is through collaboration with local performers. Two creators from the brilliant Spanish group which came during the last Festival, La Claca, are working with Circus Oz; leading British playwright David Hare, has written a play to be premiered at the Festival and will direct it for the Sydney Theatre Company; Mark Elder will conduct the Australian Youth Orchestra, and Ronald Zollman the Syd ney Symphony Orchestra in its perfor mance of the winning works from the Young Composers Orchestral Awards, as well as music by Richard Meale, Richard Strauss and Stravinsky. The musical events range from Slim Dusty to Janacek’s opera The Makropulos Affair, directed by Elijah Moshinsky with Elisabeth Söderström in one of her most celebrated roles. Ekkehard Schall, from the Berliner Ensemble, will give two Brecht programs. Jazz musician and raconteur George Melly will flip the musical coin with solo pianist Keith Jarrett. There are too many items and aspects of the 1982 Adelaide Festival to be listed here. The more you study them, the closer you come to finding Sharman’s complex tapestry of intertwining themes... for which the American artist Edward Hopper, whose work is the Festival's major exhibition, is surprisingly often the starting point. Roll on Christmas. I can hardly wait till March.

THEATRE AUSTRALIA NOVEMBER 1981

ÌHEATRE n r w ir w p NO END OF BLAME by Michael Morley If there is one quality that has always distinguished John Gaden’s performances, it is the intelligence that informs his work on the stage. A necessary requirement, perhaps for an actor who has played Kreon, Gallileo and the philosopher figure in Tom Stoppard’s Jumpers. That this strength is no neat and refined intellectualisation is, however, borne out by his other roles: a marvellous partner to Robyn Archer in Kold Komfort Kaffee, or his equally notable contributions in comic roles. And, in fact, it is precisely this combination of comic impetus and intel lectual substance that he is looking for in this production for the STC of Howard Barker’s No End o f Blame. He sees the play as "a concise metaphor for one’s attempt to come to terms with the world through his art or, rather, through his creative response to it. This problem is located not only in the figure of Bela but also in the ideological and aesthetic con frontation between himself and Grigor. This may sound a little high-flown and artistic: but the problem with Barker’s play is to convey to an audience both the seriousness of the play’s debate and the black comedy of many of its situations." As director, Gaden has found himself particularly intrigued both by the story line of the work — loosely based on aspects of the life and character of the cartoonist Vicki — and by the way in which Barker provides both actor and audience with the theatrical realisation of apparently in tractable ideological material. "One can talk about themes like the passage from nature to artifice; the claims of socialist realism vs the ‘artistic, personal’ impulse; the tension between an art that hurts rather than heals, that antagonises rather than reconciles. These are all present in the play. Barker’s achievement is, through his comic vision, to express the plurality of such attitudes towards art and society." But how will audiences tackle this sort of material? "Well, if the actors are any indication, with enthusiasm. At the beginning some were frankly quite diffi dent, but by the end of the second week that had gone; and I hope that the energy and weight of the debate and the comedy of Barker’s writing will now communicate itself to an audience."

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SYDNEY FESTIVAL LINE-UP The 1982 Festival of Sydney music and drama programme will be a busy month for music and theatre audiences. Heading the bill of more than 30 theatrical events, ranging from the experimental to the classical will be attractions such as The Black Theatre of Prague which has mesmerised and in fluenced a theatrical generation; Steven Berkoffs renowned London Theatre Group in his stunning interpretation of the Edgar Allan Poe classic, The Fall o f the House o f Usher; the Melbourne Theatre Company’s production of Beecham — based on the life and genius of the great Sir Thomas — and The Festival of Sydney Playwrights which again in association with the Ensemble Theatre will premiere four new plays by Australian writers.

M USHROOM AT THE PRAM Despite what you might have heard, it isn’t the end of the Pram Factory — yet. The APG may have gracefully bowed out, but while the wrangle over permits and development applications goes on (The Historic Buildings Committee has stepped in, and there’s a chance the whole thing may fall through) the venue remains viable — The Mushroom Troupe has temporarily taken over the Front Theatre, and will hold the fort till Christmas at least, with the world premiere of Neil Giles’ Savage Love: A Lounge Suite.

David Ravenswood as the MTC's Beecham.

■to

THEATRE AUSTRALIA NOVEMBER 1981

John Gaden

The Mushroom Troupe and the Drama Project Trust present EDDIE SAVAGE and the LARGE DOG SYNDICATE In

A FUNNY THING IN PERTH UK (Theatre) Productions, Perth’s newest theatre company, has lured Noel (Let's Hear It For The Musical) Ferrier to WA, to play in A Funny Thing Happened On The Way To The Forum. Ferrier will take the role of Pseudolus, the MC/slave, who finally wins his freedom. Actor/director, Jenny McNae directs the show, Peter Bandy is musical director and Barry Screaigh is choreographer. Noel Ferrier’s most recent stage appear ances have been in another Sondheim piece, Side by Side by Sondheim, in 1977, and latterly as Big Daddy in the QTC’s Cat On A Hot Tin Roof. He comes to Perth direct from filming a pirate musical with Blue Lagoon star, Christopher Atkins, and Kirsty McLeod.

NOTES FROM OS Following Hampstead Theatre’s pro duction of Stephen Sewell’s Traitors in London, Warner Bros picked up the screen rights option of the play for David Puttnam. London’s Tricycle Theatre mounted a successful production of David Allen’s Gone with Hardy. Press comments in cluded: "... a little gem of an evening ..." — Financial Times; " ... the most enter taining small show at present to be seen in London ..." — Sunday Telegraph; ",.. David Allen’s remarkable play..." — Times. The production was invited to the Toronto Festival where the Off-Broadway rights have been picked up.

DISCO PUPPETS What could be described as the year’s most innovative use of puppets occurs five nights a week at Sydney’s multi-million dollar disco, Jamison Street. Since last April metre-high rod puppets, based on designs by the Daily Tele graph’s political cartoonist, Paul Zanetti, have provided the "live" entertainment at the exclusive club entrepreneur Barry Wain fashioned from an old tram electrification shed. The puppets, created by the Marionette Theatre of Australia’s puppet-maker, Ross Hill, and more recently, Kim Royle, include such notables as Neville Wran, Malcolm Fraser, Bob Hawke, Joan Sutherland, Mike Willessee and John Singleton. At show time, the disco dance floor is cleared and the puppets descend on a $20,000, specially constructed, col lapsable stage.

the NEXT LASTSHOWat the

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LITTLE PATCH THEATRE INC. ARTISTIC DIRECTOR Little Patch Theatre is an established children's theatre com pany funded by the Australia Council, the Education Department of S.A. and the Department for the Arts (South Australia), Performances are designed principally for primary schools during term and for general audiences during school holidays. Little Patch maintains an on-going commitment to puppetry as part of its overall programme. Duties of the Artistic Director will include:• Devising and m anaging artistic programmes • Selecting scriptwriters, designers and contract players. • Directing each new production. EXPERIENCE IN PUPPETRY DESIRABLE. The applicant will work In collaboration with the adm ini strator In planning and supervising Little Patch's overall programme, staffing budget and expenditure under the director of the Board of Little Patch Theatre. Salary to be negotiated Commencing date, January 11. 1982 Written applications should be sent to reach cjrp S ir :

The Chairman Little Patch Theatre Inc. 20 Tarlton Street. Somerton Park, S.A. 5044

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By November 13. 1981

The

Drama Studio 3 YEAR ACTING COURSE 2 YEAR INSTRUCTOR/DIRECTORS COURSE Classes run 5 nights a week from 5pm - 10pm (approx), 3 terms of 12 weeks each year. Applications to audition for the 1982 intake are now invited. Auditions held in November and January. For a prospectus contact The Director The Drama Studio, Sydney, Ltd. P.O. Box 201 Woollahra 2025 Sydney N.S.W. Telephone (02) 331 3755.

THEATRE AUSTRALIA NOVEMBER 1981

LETTERS RESPONSE TO STEEL I refer to "Theatre Feature" (Theatre Australia, September 1981) in which you interviewed Mr Anthony Steel on his role as Artistic Director of the AETT. In the article you comment, .. Steel is happy for the Trust to initiate, for instance, tours of overseas productions of quality, but which no other organisation would back. A case he cites is the tour of the Sadlers’ Wells Ballet (though of their second company) which the Brisbane Arts Centre requested — wanting for some reason an English company to open the new complex .. 1 should like to make it quite clear that at no time has the Queensland Performing Arts Trust planned to open its Complex with "an English Company"... The Sadlers’ Wells Royal Ballet, or any other one! It has always been my view and the view of my Trust that Australian per formers should open the complex in Queensland. However, some time ago it was proposed that a major English performing company should be incorpora ted within the 1982 Commonwealth Games Arts Festival, as part of the UK’s contribution to the Commonwealth Games.

As the timing of the Games co-incides (more or less) with the present scheduled opening of the Complex, it was logical for the AETT to hire that venue for the Sadlers’ Wells Royal Ballet — but not for the opening performances. For your information, the Sadlers’ Wells Royal Ballet is provisionally booked into the Complex following performances com prising predominantly Australian content. Tony Gould, Director, Queensland Performing Arts Trust. While the Arts Council, operating in all States and Territories in Australia, is happy to have publicity, we refute the statement by Anthony Steel in the September issue that we are "more suited to touring small shows around to village halls" (than to supplying product to the new Arts Centres). To take two examples supporting our contention — in Western Australia at the moment, all three State companies are touring on behalf of the Arts Council, hardly an indication of parish pump performances. In South Australia, the discussion paper setting out the policy directives and guidelines for the Regional Cultural Centre Trusts states "... each Trust shall form an Arts Activities Advisory Committee whose members will

We've been playing to audiences for over five years, and are one o f the longest-running shows around! We set the scene with the most in-depth news coverage of the gay community. Our interviews, special features and international reporting keep you involved as well as aware of events in Australia and throughout the world. We complete the performance with comprehensive reviews of music, theatre and art. Catch a rising star. See the hottest show in town. Subscribe to C AM PAIG N Australia's best! N a m e ____________________ — --------------------------------------------------- — ----------------------------Address

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THEATRE AUSTRALIA NOVEMBER 1981

include nominees of the Arts Council of South Australian branches within the Region!' This surely indicates a belief in the continuing role of the Arts Council in the new structure. Indeed, since the paper was drawn up, the Arts Council now has representatives on all four Regional Trusts, and other members of the Trusts have often been involved with branches of the Arts Council, I hope that these examples of State Governments’ confidence in the Arts Council will persuade Mr Steel that we are competent and willing to supply product to the new Arts Centres, in many cases with the AETT, a partnership which has occurred so often in the past. Jill Nash, Federal Administrator, Arts Council of Australia. I was very interested in your interview with Anthony Steel published in the September issue. Anthony’s concern about the indepen dent use of arts centres out of capital cities is very timely. However, I take grave exception to his comment that "the situation has outgrown the Arts Councils, who are more suited to touring small shows around to village halls". The Victorian Arts Council welcomes the advent of the new arts centres in our State — many of which have been built or upgraded as a response to pressure from Arts Council branches. The Victorian Arts Council regularly matches the demands of these centres, regularly comes up with ideal tour circuits (without the use of computers, but with the thorough bank of information we have built up over eleven years). We are also very proud of the product we offer outside Melbourne, representing as it does the cream of arts available from State companies, and other Australian and overseas sources. We frequently mount or collaborate with other companies and managements in mounting product designed specifically for our circuits. Many of these productions have been "sold off' to other interstate commercial and subsidised managements for presentation in such "village halls" as the Adelaide Festival Centre, Opera Theatre, Adelaide, Princess and Comedy Theatres, Melbourne, Twelfth Night Theatre, Brisbane and the Seymour Centre in Sydney. Don Mackay, Executive Director, Victorian Arts Council.

The current Melbourne Theatre Company production of Peter Shaffer’s Amadeus will not now be toured by the Elizabethan Theatre Trust. Instead, the Trust, as it is with the MTC show, will be "associated" with a separate production by the Queensland Theatre Company and "physically involved" with another by the Sydney Theatre Company to be staged next year at the Theatre Royal. No announcement at time of writing, but 1 hear the STC 1982 program will also include Kaufman and Hart’s You Can't Take It With You; Robyn Nevin in Shakespeare’s Macbeth and a David Hare play which the author will come to Australia to direct. A long, interesting trip lies ahead for the 22 dancers chosen for Michael Edgley International’s local production of the American stage version of TV’s Sesame Street. Final auditions for American cho reographer Diane Arnold will be held Nov 23 and rehearsals start Dec 7. American entertainer Cher Bono (nee Cherilyn Sarkisian) will bring her ela borate Las Vegas show here next month, to Sydney’s Capitol on Nov 24 and Mel bourne’s Palais on Dec 4. She is slated for only two performances at each venue, but I’ve no doubt there’s the usual "up the sleeve" dates for "by public demand" extra shows and that they will eventuate. In Vegas Cher has a company of 36 and wears 11 costumes costing up to $10,000 each and at $40 a ticket plus tax she’s the dearest show in town. Here, however, top price will be a modest $18.40. Peter Williams will direct a revival of Roger Hall’s public service send-up, Flexi time\ at Sydney’s Phillip Street Theatre from Nov 12 to Dec 23. With Michael O’Kane designing, cast is John Clayton, Kevin Goldsby, Gordon Glenwright, Lyn C ollingw ood, Les Asm ussen, Guy Malcolm and Paul Smith. Tickets at $16 include a champagne and chicken supper. Williams says 20,000 saw the South Australian Arts Council presentation at the Seymour Centre in June, 1980, and that there must be another 20,000 who also want to see it. Earlier-than-hoped-for folding ofEvita left the Adelaide Festival Centre Trust with responsibility for the rent of Sydney Her Majesty’s until January, I’m told, at something like $21,000 a week. An easing is being offered by Peter Williams, who is prepared to put in for Christmas his production of A Bedfull o f Foreigners,

Robyn Nevin — fo r STC Shakespeare.

Diane Cilento — eventually Filumena?

Entrepreneur Peter Williams.

which played to capacity at Sydney’s Marian Street Theatre earlier this year. Other Williams projects include Goldi locks and the Three Bears at Phillip Street from Nov 24 to Dec 19 with Karyn (Evita) O’Neill in the title role and Arthur Pickering, Les Asmussen and Clifford Wallace as the bears. Keryn, incidentally, has her eye on the role of Laurey in the upcoming revival here of Oklahoma! Next February-March Williams will present Neil Simon’s G od’s Favorite, based on the Book of Job; Macbeth in Rehearsal for school audiences and possibly also his deferred production of W ho’s Afraid o f Virginia Woolf? And on the proverbial grapevine I hear he has a November date at the Theatre Royal for the long-delayed Filumena, with Diane Cilento still possible as the star. Phillip Street Theatre will again be the venue for the Ensemble Theatre’s third annual contribution to the Festival of Sydney. Retitled this year as the Ensemble Festival of Playwrights the four plays are Jan 5-9: Indian Summer, by Justin Fleming, author of last year’s highly successful Hammer; Jan 12-16: Conundra, by John Smythe, who worked on the scripts of Breaker Morant; Jan 19-23: I ’ve Come About The Suicide, by Craige Cronin; Jan 26-30: The Right Man, by Ken Ross. Producers are Judith Johnson and Anne Morgan, but no directors or cast yet named. Season is sponsored by Qantas. The Ensemble itself is looking for a temporary home for the six months or so from next April or May while Stage I of its rebuilding program proceeds. It had been hoped to stay put while this went on, but it has proved impracticable. Phillip Street Theatre was favoured, but was quickly abandoned when recently events revealed a covenant that gave a right of censorship to the church authorities that control the premises. Actor John Derum, whose brilliant evocation of the life and works of national poet CJ Dennis in his one-man show. More Than A Sentimental Bloke, has revived interest in the Laureate of the Larrikin, is carrying the word still farther afield. Under the management of Bill Watson he is now touring Tasmania, to be followed by country centres in Victoria and later, all being well, South Australia and Queensland. Actress Valerie Newstead has joined the board of The Players Theatre Company, still gallantly afloat the Pavilion Theatre, Bondi, where she is appearing with Vincent Ball, Faye Donaldson and May Pusey in the current production of Emlyn Williams’ The Corn is Green, directed by Doreen Harrop. Incidentally, Valerie’s own company, Mora Productions, has been given a further grant for film script development by Michael Cove of a play she has long been associated with, Morry Swerdlin’s Same Difference. THEATRE AUSTRALIA NOVEMBER 1981

TUKTRE austral

by arrangem ent with

The Performing Arts Bookshop proudly presents

SUPERB ARTS BOOKS AT AFFORDABLE PRICES! Now you can build up a fine library of some of the finest arts books available from our monthly selection at incredible discount prices. No limits, no commitments; just tremendous books available to you. 1. THE OXFORD COMPANION TO THE THEATRE (Phyllis Hartnoll) RRP $49.95, Our price $37.50 “This remarkable compilation is irresistable . . . it is impossible to read three pages of it without becoming absorbed. Every possible aspect of the theatre is examined in turn . . . its history, construc tion, personalities and superstitions . . a mass of brilliantly presented information”. Sir John Gielgud, in the SPECTATOR.

7. REVOLUTIONS IN MODERN ENGLISH DRAMA (Katherine J. Worth) Was $20.00, Now $10.00 Looks at “revolutions" as movements which bring up the past continually in new’ forms. Post-war English playwrights are seen against the background of pre-war theatre - Eliot in relation to Priestley, Pinter in the light of Joyce’s EXILES, Osborne as a reshaper of comic patterns inherited from Shaw and Noel Coward.

2. THE ENCYCLOPEDIA OF DANCE AND BALLET (Ed Mary Clarke and David Vaughan) Normally $44.00, Our price $33.00. Covers the complete field of dance in alphabetically arranged entries: particular works, classical and modern, biogs of choreo graphers and composers, designers and dancers. 24 colour plates and 200 B & W photos.

8. MOZART THE MAN (Arthur Hutchings) 9. MOZART THE MUSICIAN (Arthur Hutchings) Originally one vol. @ $55.00. Special two vols @ $10.00 each. Two delightful books, one biographical, the other covering all the musical works, but without the scholar’s heavy musical analyses. Beautiful colour plates, may be read with pleasure by the initiate or the devotee.

3. THE OPERAS OF MOZART (William Mann) Was $45.00, now $20.00. The definitive study of Mozart’s operatic m usic- massive, exhaus tive, and profound. Mann’s musical and textual analyses, particu larly of the lesser known operas, and his exposition of Mozart’s development make this a Mozart lovers delight. William Mann is a contributor to Grove’s Dictionary of Music and Musicians, is on the editorial board of Opera and is principal music critic of the Times.

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4. THE BEATLES (Geoffrey Stokes/Rolling Stone, introd. Leonard Bernstein) RRP $31.95, special price $23.95 Just published. The book everyone’s been waiting for - lavish, complete, fascinating. Cover art work by Andy Warhol, and includes an extra reproduction of Warhol’s original artwork suitable for framing. Hundreds of photos. 5. IBSEN: THE COMPLETE MAJOR PROSE PLAYS (Trans and introd. by Rolf Fjelde) Normally $30.00, Our price $20.00. Nicely produced hardcover edition which collects the whole cycle in one volume in English for the first time. Brought together for the 150th anniversary of Ibsen’s birth, these translations follow Ibsen’s counsel: “1 believe that a translator should employ the style the original author would have used if he had written in the language of those who are to read him in translation”.

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6. STRAVINSKY IN PICTURES AND DOCUMENTS (Vera Stravinsky and Robert Craft) Was $40.00, Our price $15.95. Magnificently printed, 700 pages, large format this is a record of Stravinsky’s more private life, based on illustrations and letters selected by Vera Stravinsky, his second wife, and Robert Craft, his friend and close associate for twenty years. Limited stocks.

10. THE PRE-ROMANTIC BALLET (Marian Hannah Winter) Normally $35.00, Our price $12.95 The first history devoted to theatrical dancing from the early 17th century, when professional performers had become indispensable to courts ballets, to 1830, when all the elements of the Romantic Ballet had appeared. The author has combined much new material with a treasury of illustrations from public and private collections in eight countries. Two much-discussed problems of the pre-Romantic ballet are considered: evolution of the “ballet d’action” before and after Novaerre, and the development of the ballerina’s technical achievement of dancing on the pointe. 11. BLUES WHO’S WHO (Sheldon Harris) Normally $47.00, Special price $30.00 A biographical dictionary of blues singers - the basic, truly indispensable blues reference source. Contains 571 detailed biogs, 450 photos, the entire blues field from the beginnings to the present day. Year by year list of each singer’s credits: festivals, concerts, tours, clubs, bands, theatre shows, radio andT.V. shows, films, recordings, songs etc. Critical quotes, all thoroughly indexed. “The most impressive mass of facts ever published on the blues”. Living Blues Magazine, Chicago. 12. MAHLER: A DOCUMENTARY STUDY (Kurt Blaukopf) Was $36.00, Special price $15.00 300 pages, 362 illustrations, 37 in colour. The rediscovery of Mahler has been one of the great musical events of the last two decades - brilliant musician and fascinating individual. The most lavish book produced on him.

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Remember any performing arts book can be bought at the Performing Arts Bookshop. THEATRE AUSTRALIA NOVEMBER 1981

A LIFE IN THE DAY OF FRANK THRING by Kate Legge Frank Thring prefers the word "one", to the personal pronoun

n j/r

Like the dark glasses, the deep voice, the devastating sarcasm and the passion for pendants and black dress, this trait is part and parcel of the Thring package â&#x20AC;&#x201D; but who knows whatâ&#x20AC;&#x2122;s inside? The public image projects a sort of satanic power that people describe as something larger than life. Just look at the adjectives the press have used to capture his presence: "an imposing majesty", "deliciously outrageous", "irreverent", "unique", "the master", "the aura", "overpowering", etc, etc. After the praise comes the pepper, quote after quotable quote. Such good copy. Wicked wit sprinkled liberally on to the printed page. And then there is the inevitable oohing and aahing over the house he has decorated in his indomitable style. Two large white concrete lions guard the entrance. His dining room! table set with crystal, china and silver, forever, a la Miss Havisham. Black carpets, black walls, mirrors and zebra skins. A handsome houseboy and the sleek Siamese.

But despite the publicity, his privacy has been preserved. And now that the performer no longer needs to promote his work, he is playing even harder to get. The Melbourne Theatre Company spent two weeks tracking him down. Frank Thring might not need previews but the company certainly does. So with kid gloves and plaintive pleas, he was cajoled into allowing the chosen few to come and see a new pendant that was designed especially for his well padded chest. Desperate to find out what the one man show. Frankly Thring, is all about, members of the press crept up to the door of his Toorak home and timidly presented themselves for inspection, tape recorders and notebooks well concealed, with nothing but admira tion for the set of silver jewelry bedded down in velvet boxes at one end of the room. Who said anything about the show? No one wanted to be cut down like one poor late-comer Mr Thring spotted at the gate. "What pathetic hound of the press is that tottering up the drive?" he roared. Then the cat got upset with all the commotion and for a minute it looked as if even the pendant display would be put away. Once the white wine began to take effect, Mr Thring was a little more co operative. He posed with his new pendant, ring and god knows what else while the cameras went clickety click and then turned to the spectators standing on shaky ground. "Now whose doing what to whom?" Whether it was the wine or the strain of it all, Mr Thring was looking the worse for wear, even with the dark glasses shadowing three quarters of his face. For the last few weeks he has been tapping out a book to be published in March or April next year. He refuses to discuss it, except to say that the process of writing was painless. "1 write when I feel like writing. If I have a deadline to meet, it is met. I’m a professional journalist," he said, referring to a stint as theatre critic for The Argus way back in 1955. In a fortnight’s time he begins rehearsing Frankly Thing with direc tor, John Sumner. There will be no script. "Each night will be different. It’s not going to be glamorous like Betty Blockbuster, or Barry Hum phries. I’m not spending the whole evening in suspender belts. More of a quiet little family affair. Certainly not The Rocky Thring Horror Show. 10

Although nothing has been written yet, he intends to perform a selection of pieces that will stay the same from night to night. "They won’t be from plays, because most of the plays I’ve wanted to do I’ve done. They will be things that don’t fit into plays. Things that I would like to share with the audience. Obviously I can’t stick in something from the middle of Hamlet. "Pieces of literature that one enjoys. I will recite them to the audience and see if they like them too. It’ll be very relaxed." No doubt Mr Thring will be on his best behaviour. That is of course providing the audience do not invade his privacy. Although the title sounds very informal and the format almost intimate, on stage the public image will stay intact. Does it ever come undone? When he’s at home does he tear off the pendant, the dark glasses and the black uniform and pad around the house in jeans and an open neck shirt, or invite the neighbours in for after noon tea? No. Like Greta Garbo, Frank Thring wants to be left alone. "I have to have privacy to work, otherwise one achieves nothing. I very rarely go out. I can’t ever go to the city because I'm driven mad by people." Pursuing the theme of a day in the life of Frank Thring proved difficult. The answers became monosyllabic, reporter from TV Week.) He conceded while the pauses threatened to cancel to watching an old Hollywood film every now and then. out further communication. Is he still interested in contemporary "We’re not going to get anywhere with this. There’s no such thing as a theatre? "I see what vaguely interests me." typical day in the life of Frank Thring. What was the last thing he saw? Forget the question." "The Dresser." I didn’t. His opinion. "My days don’t match each other. "Excellent." Obviously I'm a late nighter when I'm Nevertheless, Mr Thring professes working in the theatre. When I'm up filming at five in the morning I’m an to live for theatre. "If I couldn’t go on acting I’d die. If I was physically early riser. "I do a lot of reading. One has to do incapacitated by cancer or syphilis, a lot of reading to find out what goes which is quite likely, then one goes into the reminiscenses. If you can't do it, on around the rest of the world." write about it." What do you read? Overseas trips are out of the ques "Look. This could go on for twenty minutes. The New York Times, The tion. "I’m tired of travelling. All I want London Times, The Observer, Plays and is a perfectly quiet Toorak house in Players, Films and Filming, Sight and Melbourne, where I can live in ab Sound. It just goes on," he said and solute peace. Providing they stop those fucking helicopters," he said, scowling stopped short. "When I’m at home I cook Chinese at the omnipresent signs of CHOGM food. I watch TV only when I'm paid security. What will happen to Frank Thring to write about it." (Only ten minutes before he had delivered a diatribe in when Frankly Thring is over? "Collapse in a huddled heap I authoritative tones on the "dreadful" standard of Australian television to a should think."

THEATRE AUSTRALIA NOVEMBER 1981

spoWok THE THREEPENNY OPERA

The Threepenny Opera will be the State Theatre Company of S A ’s first Brecht produc tio n . D ir e c to r , G E O R G E WHALEY and Musical Direc tor, MICHAEL MORLEY, talked to GUS WORRY about their approach. W hy choose the Threepenny Opera as the S T C ’s first Brecht?

Because, they agree, it is a popular play, a challenge if tackled in the right spirit, and because it contains "some of the best theatre music ever written". Other works had been considered M other Courage, Gallileo, The G ood Person o f Szechuan — but such works

were difficult to cast, impossible to rehearse properly in a month without an ensemble company. In Whaley’s opinion. Brecht still has to be "ab sorbed" by actors and audiences, In Australia, and a well-cast Three p en n y Opera is a good grounding piece in this respect. W ould audiences consider it a "safe” choice?

Some might be tempted to think so, is the consensus reply, but there is daring in the Threepenny Opera if approached in the right way; in the music, for example, suggests Morley. He points out that John Willett ("Who for my money talks as much sense about Brecht as anybody") locates the revolutionary impact of the piece in the music itself, because the music, perhaps more successfully than the satire or the structure of the play, sets out to dismantle all the accepted notions of "highbrow art", opera in particular. Weill and Brecht have contributed significantly to a subversive trend which began with Stravinsky’s Sol d ier’s Tale and the introduction ofjazz into twentieth century European awareness, and which still goes on. What are the sources interest in Brecht?

o f your

Whaley’s answer comes in three stages; first as an actor; then as a

teacher of acting students; and then as a director. Morley responds to the special relationship between Brecht’s "poetry" and the music which has been written for it by Weill, Dessau, Eisler and others. You've both been involved in p roductions o f Brecht's work before, y o u ’ve seen other productions here and overseas, what are the pitfalls?

An immediate response from Whaley: "Brecht isn’t as ‘serious’ and sombre as many well-meaning direc tors and performers have thought". He thinks back to the "early days" and the university productions which were presented for the politics of the plays, and points out that for Brecht "politics was the stimulus for his genius. For his imitators it merely serves as a crutch for inadequacy". Morley wants to avoid the "uniform greyness" which has resulted from productions overcoated with "theory". He also wants to avoid the procrustean approach to Brecht: if it doesn’t fit cut it off. (Brecht himself used this image, taken from a Chaplin film, in which Chaplin deals with an overfull suitcase, to describe what had hap pened to his theatre.) He is sure that this production won’t be "neat" and clipped off at the rim. The awkward bits should be left there to stick "like cherry pips, to be chewed over" he says. H ave there been m em orable p ro ductions? "Yes... Aubrey Mellor’s M other Courage with Kerry Walker as MC; John Gaden’s Gallileo in Ken Horler’s

production", says Whaley. "Yes... Ted Hodgeman’s Ui, in the MTC’s A rtu ro Ui", says Morley. 'Though 1 had strong reservations about the music ... I thought the approach to the play was spot on." Both point out that Brecht, like any major playwright receives mixed treat ment everywhere, even at the Berliner Ensemble. Whaley has been thrilled there by the economy of thought and the precision of activity; Morley "bored to the point of total tedium" by carbon-copy reproduction of 1920’s material. The aim of this production is to get to the "energy and the bite" of the work. To M orley — H ow do y o u get the rough a n d gutsy quality out o f the perform ers as well as the music? Does the score present particular problem s fo r this production?

"First of all try and persuade the

actors that they are not singing musical comedy, and secondly per suade them that singing on stage is not really divorced from speaking on stage, especially using the same sort of tonal quality in the voice and an awareness of phrasing." This is the immediate reply to the first question. For actors in English-speaking coun tries, Brecht and Weill can even be approached via Gilbert and Sullivan, he says, because the words are always crucial in Brecht's songs. Gilbert and Sullivan teaches actors to observe melody and at the same time work around it whilst making the words totally comprehensible. As for the score, it is difficult and thwarts singers and musicians who want to make "a pleasant sound". The music has to be tuneful, but "pleasant" is not exactly useful in Brecht’s theatre. So, the band has to be careful not to "iron-out" the sound. It also has to be careful not to "iron-out" the actor-singers. Even with a cutdown seven-piece band actors will have real competition and so (pace Brecht) the musicians on this occasion have been consigned to the pit which ought to make it an equal contest. To Whaley — Has the play lost som e o f its satirical bite? Does it need to be transposed to sharpen this aspect o f the original?

The answers are "Yes" and "No" respectively... but the approach is positive. In his production ofthework at NIDA, Whaley relocated it to Sydney at the time of the opening of the Bridge. It works, he said, sur prisingly well, with the odd change of word or phrase, and the addition of a Prologue. In Adelaide (since there is no Bridge?) the play will be performed as tranlated by Willett and Manheim. Whaley does not see this as a work of broadside satire, but feels that the sideswipes and pot-shots at hypocrisy (secular and religious), class and economic iniquities, double-standards and corruption will no doubt find their mark. This production, it seems, will not be over-reverent. Its directors intend to tackle the piece with a straight forwardness which acknowledges roughness and inconsistency, strength and weakness. It may even manage to show the Threepenny Opera as "a brilliant, but by no means, flawless distraction," for this, says John Willett, is what it was and is.

THEATRE AUSTRALIA NOVEMBER 1981

5DO ARTISTIC ENDS BY CORPORATE MEANS M AdPlh on lour: Australian National Railways won an award last year for sponsoring MACH’Hi's connin' tour. John Fox and Jack Spratt in MA (i PIId s country tour.

The Business in the Arts Awards exist to recognise out standing examples of corporate support for the arts and thus encourage growth in sponsorship and other assistance. The Awards (sponsored by Mobil Australia) are now in their fourth year. What have they achieved? Are they worth the effort? It is hard to demonstrate the direct benefits of any award or prize — whether it be for the most efficient car or the best portrait. Yet, it is unarguable that competitions create public and media interest. They focus attention. A recent survey shows that corpo rate support of the major arts organisations in this country has grown tenfold during the last five years. The main recipients have been public galleries, festivals and opera companies. However, there is also an emerging trend to assist dance and theatre companies. In total corporate support now exceeds $10 million annually. Can the Business in the Arts Awards claim any credit? Maybe yes. At least they were working on the right cause at the right time. The Awards were the brainchild of A.R.T.S. Ltd — Arts Research Train ing and Support Ltd. This organisa tion was established in 1977 and exists 12

THEATRE AUSTRALIA NOVEMBER 1981

to bring private sector skills and resources to the arts. It does this in three ways: by carrying out manage ment consulting assignments for major arts organisations; running courses and publishing booklets on art management; and counselling arts organisations seeking support and corporations interested in providing it. The Awards were established to focus attention on this last activity. The Awards have certainly achieved some standing. His Excellency the Governor General, Sir Zelman Cowen, has presented them each year — in Sydney in 1978, Melbourne 1979, Adelaide 1980 and Sydney again this year. Brisbane is on the calendar for 1982. The Panel of Judges for the Awards, chaired by Mr S Baillieu Myer this year, has included people such as Professor Geoffrey Blainey, Sir Andrew Grimwade, Mr Kym Bonython, The Hon Gough Whitlam — all notable public figures with a commitment to the arts. Mr Myer comments "It is a pleasure to help this project and encouraging to see the growth of corporate interest in the arts". The 43 recipients of Awards and Honourable Mentions from the first three years represent a wide range of companies. Some are large like BHP, which supported a tour by the SGIO Theatre to remote parts of Queens land. Others are small like Emerald Trading Pty Ltd, which initiated the Castlemaine Festival in Victoria. A few are in heavy industry. For example, Sabemo Pty Ltd in Western Australia gives annual painting and sculpture awards for workers in the construction industry. Others are in the service sector. The State Savings Banks of South Australia has sup ported various South Australian Festi vals. Some companies are trans national. Caltex Oil (Australia) Pty Ltd sponsored performances by Pipi Storm Ltd in remand centres and other children's institutions. Many like A W Balderstone Pty Ltd, which helped the State Opera of South Australia, are local. A.R.T.S. Ltd has established four Award categories for 1982. First, previous recipients of Awards and Honourable Mentions will compete against each other in the "previous winner" category. The second category — open to those who have not previously been recognised — is for

support of the arts in the work-place. This category is new. It has been added to focus attention on the opportunity for companies to help in this area. The third category is for support of the arts in country towns and rural areas. The fourth category is for support of the art elsewhere. Some people imagine that Award recipients must have given huge sums of money to the arts. To the contrary, the level of financial support is not a criterion. The judging panel looks for such things as: what was novel about the way the support was provided; which new audiences were reached because of the support; what new or permanent artwork was created; whether the support made possible a unique artistic experience; if the project fitted the commercial ob jectives of the supporting company; the extent to which employees were involved. In some cases Award recipients have provided little if any financial support but helped in many other ways — with publicity and staffing, use of premises and so on. The race is to the smart rather than the rich! Dr Timothy Pascoe, as National Director of A.R.T.S. Ltd, established the Awards project. He sees a strong future for corporate support. "Corpo rations are beginning to look more widely at their responsibilities within the community. Also, more of them are recognising that art sponsorship can help to build corporate image. The benefits to the arts go beyond the support they receive. It gives them a chance to get their message across to a powerful group in the community, which they normally do not reach. If it’s a good sponsorship programme, both sides benefit, learn from each other and the relationship endures." Which companies will be the recipients this year? As in previous years, the nominations from arts organisations around Australia in clude a fascinating array of support programmes. Will it be a company that has supported Nimrod, The Playbox Theatre or the Sydney Theatre Company; or a supporter of the Victorian State Opera or the International Piano Competition? The arts need all the support an d attention they can get these days and the Awards certainly encourage it. The 1981 Awards will be presented on the 16th of this month.

EXPANSION AT THE Q by Barry O’Connor

Q ’s Artistic Director, Doreen Warburton,

Penrith’s Q Theatre is expanding. Tired of turning customers away at the door, the Q management has decided to increase the seating capacity of their Penrith homebase from its existing 120 to a more accom modating 300. This is a remarkable event in the light of the present economic climate, and in view of the fact that the Sydney Theatre Company has just lost its claim to annex Walsh Bay for extra storage and an experimental theatre space. Fortunately for the Q. however, they received a grant of $40,000 for next year. But the real angel is the Penrith Local Council, who are putting up $70,000. All the Q now has to do is raise the money to equip and outfit the projected extensions to their present building. All, indeed! The present building is the old Railway Institute Building, located in Railway Street, Penrith, just alongfrom the Penrith Railway Station. The hall had been traditionally used for School of Arts

activities, Bingo, and eisteddfods. The atmosphere was right, anyway, and the Q, which had spent twenty years at Circular Quay providing lunchtime theatre for Sydney’s office workers, moved in. Now in their fifth year in Penrith, the Q serves the Western Region of Sydney, touring their usual five play subscription season as far out as Orange and as close in as Bankstown. This season. Privates on Parade established new territory by trans ferring to the Seymour Centre before going on a tour of Tasmania. Artistic Director and founder Doreen Warburton is committed to taking theatre to the people. That may sound somewhat grandiose, but Doreen Warburton trained with Joan Littlewood of Theatre Work shop fame, and these are two ladies who take the theatre’s mission very seriously. The Q knows its audience: it works with the community and listens to its needs. Schools programmes and workshop classes are just two examples of the Q’s public liason, which returns dividends in discoveries like David Mason-Cox’s two highly successful rock musicals, St Mary's Kid (David is from St Mary’s), and Paradise Regained. This year David is with the company as its playwright-in residence. It comes as no surprise that a local architect, E N Skarret, is in charge of the new theatre. The intimacy of the existing three-quarter in the round stage will be retained, only the scale will alter. The present space is a very happy acting area. However, the backstage is impossible, and permanent sets, usually the work of resident designer Arthur Dicks, are standard, ensuring that actors and audience alike share in the atmosphere of the play. The Q never patronises its audience, rather they present a repertoire that is worthy of the major companies in the major capitals. Last season there were Shakespeare, Brecht, Pinter and David Williamson. This year Sam Shepard’s Buried Child is running as I write; On Our Selection is soon to come, and Herbert’s No Names, No Packdrill and Upton’s The Warhorse have already been. Not long after Sydney-siders were treated to George Whaley’s stunning performance in Dario Fo’s The Death o f an Anarchist, Penrith audiences could see We Can't Pay We Won’t Pay, another political farce by Dario Fo. The question is: will it be business as usual at the Q when the first sod is turned on the new project? Work is scheduled to begin before Christmas, after the run of On Our Selection, the next production. As part of their fund-raising, there will be a "Demolition Derby" on December 19, with contributions from the locals and the Q’s workshops. This has been billed, off the cuff, as a "Christmas Variety Night".

THEATRE AUSTRALIA NOVEMBER 1981

1HEATRE feature RODNEY FISHER, direc it became imperative to his sense of artistic development: a matter on tor of Sydney Theatre Co’s which he is emphatic. It is difficult to CHINCHILLA, talks about see any reason why Fisher should the play and his own life and think differently on that decision. Indeed, his work has described an art, to ANTHONY BAR upward curve since that time. There has been fruitful collaboration with CLAY. Mimi:

Ilya:

Learn the virtues of selfish ness, young man. We are not all cut out to be nuns. It is not necessary to starve to be a revolutionary. Nor is it necessary to be a revolutionary in order to starve.

Williamson (the outstanding pro duction of The Club and A Handful o f Friends — both world premieres) with Margaret Roadknight and especially with Robyn Archer (A Star is Torn and Songs From Sideshow Alley). This year he directed the commercial tour of The Dresser (Warren Mitchell, Gordon Chater) for Wilton Morley. Also he directed Intimate Letters, 1978, a ballet by Lynn Seymour for the Royal Ballet at Sadlers Wells and for the Bavarian State Opera, Munich. Fisher regards Seymour as one of the finest actresses he has seen and that experience is close at hand as he prepares for Chinchilla.

Rodney Fisher has just returned from the seductive wunderland of New York to start rehearsals on Chinchilla, his third production for the Sydney Theatre Company. The success of his previous two works for the Company is undisputed. Simon Gray’s Close of Play was the Company’s first pro Chinchilla: The single-minded concen tration of an artist works duction to transfer to a commercial like a cancer, and passion season at the Theatre Royal. Then absorbs utterly. . . It is the Dorothy Hewett’s The Man From only voice we can still trust Mukinupin: a production that many in a complicated expensive regard as the definitive piece on world. Hewett’s work to date; one that gave her at last the recognition so many When Robert David MacDonald’s believed in but few thought would ever be translated into the realities of Chinchilla: figures in a classical land scape with ruins had its world premiere performance. Fisher began directing student at the Glasgow Citizens’ Theatre in productions while studying at Queens April 1977, Michael Coveney wrote in land University. His first professional Plays and Players that it was a work was with the Melbourne Theatre remarkable piece of theatre to have in Company as a director (Pirandello’s the repertoire of British theatre. (For Six Characters) and writer (his play those interested the script is published The Long View was directed by George in the June and July 1977 editions of Ogilvie). The period 1972-1976 was that magazine). But then theatregoers spent as an associate-Director with the had come to expect remarkable things South Australian Theatre Company from the Citizens’ artistic triumvirate which included his world premiere of MacDonald, Philip Prowse and production of David Williamson’s The Giles Havergal. The thoroughgoing Department and a smattering of Pinter, sense of an artistic enclave ensconced Esson, O’Neill and Jim McNeil. He almost larger than life, if para also devised programmes for touring doxically, amid the grim social realities of Glasgow slums. A defiant, schools, pubs and shopping centres. Then Fisher decided to freelance. up-front celebration of performance One quickly gains the impression that from classics to punk, spilling over this was neither an easy decision nor from the theatre to posters, from stage one that came quickly. But once made, to foyer. A willingness to embrace 14

THEA TRE AUSTRALIA NOVEMBER 1981

o n l if e many areas of culture, an acute selfconsciousness about the business of art. A revolution of a kind in theatre. Chinchilla is in so many ways a very beautiful play. Its primary characters are Diaghilev, Nijinsky, Massine, Gabriel Astruc et al. Very much larger than life individuals who not only created a revolution in the world of dance but a revolution that reached across all the arts. The play has obvious echoes of the mood of Death in Venice: it has a finely wrought structure of jump-cut scenes that, for some, gives a Proustian sense of time. But the dialogue is almost archly selfconscious as well. MacDonald’s Diaghilev is in every sense the chinchilla (beside the grey streak in his hair) he is beautiful, rare and vicious, even to the point of consuming his progeny. The play does not visit the stage so much as the rehearsal room or, if you like, the wings of biography. It is the fall out with Nijinsky, the embrace of Messina, or the discussions about the "scandalous" hint of masturbation concluding L ’Apres-midi d’un Faune that are spot-lit. Private lives are discussed wittily almost brutally; the campness of it all is bandied about in an idiom that is unmistakably early seventies. It could be argued that Chinchilla is a comedy in the broadest European sense of the term. If it is very articulate it strikes some as having problematic tensions in its treatment of biography. On the one hand these larger-than-life figures of modern dance are celebrated for their intense artistic energies while on the other they are lacerated for their personal affairs. After one reading of the play I am not so sure that this is an irreconcilable tension. But this is what most preoccupies Fisher at the end of the first day of rehearsal; a matter he discusses without any leading ques tion. He cites the several reworkings of the play by the original company: reworkings where the content of various scenes has moved from muted to outrageous statements of bio graphy. This was also true of the play’s season in New York in which John Goffredo (this production’s Clorindo) worked.

\ND ART If the original production delighted Citizens’ regulars it scandalised many from the world of dance, particularly those who remembered Diaghilev. This is not necessarily remarkable in itself. But as Fisher talks he clarifies a fascination with the work. That seems to reside in its very self-consciousness, one that gives way not so much to criticism as to a ^//'-criticism of the role of the artist in the world at large. Fisher speculates that this could be true of MacDonald et al. The world of Venice and Diaghilev, in this parti cular sense, may not be all that remote from Glasgow. The choice of Chinchilla to complete the STC’s second year was very much a matter of company enthusiasm for the play. For Rodney Fisher that en thusiasm combined with a welter of personal reasons. One is a long standing desire to direct a Russian play and Chinchilla s Russian emigres are characters somewhat in this direction. But more importantly his long term interest in dance is rekindled. That is very much a family matter. Fisher’s sister is interested in dance. His father sent home from London in the Fifties autographed pictures of the leading dancers of the day and these strong childhood memories are now be coming coherent images. He mentions his excitement at being able to watch Messina rehearsing young dancers. This knowledge of dance culminated in his collaboration with Lynn Sey mour on Intimate Letters, 1978, in London and Munich. The crossmesh of dance and acting is at the heart of the play’s concern with Time and its interweaving of Art and Life. Specifically this poses challenges regarding the use of space; the Drama Theatre will be an immense open area of white and the action of the play will translate to moments of suspension in movement to capture the dance-like "logic" of its structure. Clearly the figure of Diaghilev exercises more fascination for Fisher, prior to rehearsal, than the play itself. He mentions that his wide reading must now give way to exploring the substance of the play in rehearsal. But Diaghilev is a compelling character. The fact that he, neither royalty nor

noble, almost single-handedly created a whole new system of patronage for the arts is to Fisher an affirmation of looking to the future. The drawing together of many diverse cultural inputs, breaking down traditional barriers between art forms, is one of the beginnings of a modern approach to art. Even the film Red Shoes, based loosely on these people, inspired a whole generation to put on their dancing shoes. A healthy disrespect for traditional artistic values and for the structures that surround the arts is what seem to make these people larger than life for Fisher and accounts, in part, for his initial aversion to the abrasive atten tion given by the play to their private lives. If that seems a little precious Fisher calmly states the obvious point: that their private lives were so unfulfilled accounts for the enormous commitment of their energies to their lives in art. It is a truism to claim that individuals involved in the rehearsal of a play may possibly be engaged in a self-conscious (even unconscious) process of self-definition and that this will eventually result in using the play as a point of reference for reflection. Crass or no, these impressions emerged during our conversation. There are, for example, broad points of reference in the way Fisher talks about his need to freelance. While he accepts com pany structures as necessary things he quickly points to their capacity to submerge creative energies. One accepts them as perhaps necessary to serving an apprenticeship, and that is inexorably a part of developing one’s craft. He refers without any trace of equivocation to less happy periods when the choice of play seemed to involve "The Company", not the individuals working on it. And "in dividuals" extends here to all those involved in the work — not merely the director or leading actors. This prompts a fairly passionate reference to two specific occasions when this prospect was blackly personal: free lancing was the slowly arrived at Rodney Fisher.

THEATRE AUSTRALI A NOVEMBER 1981

feature decision that liberated him. If "joy of creativity" and like phrases are not in vogue at the moment this does not trouble him. The current chorus of causes that bestrides our local theatre is of little interest to Fisher. Of course he is not alone here — to some this is at best an attempt to redefine the function of theatre, or at worst a platform for confused, even anachronistic debate of issues sexual and political. If the play’s the thing for Rodney Fisher that is not an evasion of the questions that are bandied about at company meetings. The French might indulge in long conversations on the spirituality of theatre, we might not. But whatever our frame of reference it is the promotion of the art that interests us. Thus, Fisher can cite the intensity of moments of shared revelation between actors while rehearsing Dorothy Hewettt’s Mukinupin as profoundly personal experience.

In the next breath he unashamedly mentions that if freelancing involves commercial work, then good and well. There is no contradiction here nor is there a lack of critical perspective. Fisher would like to see the barriers between subsidised and commercial theatre dissolve: if that is in Sydney a more positive interchange of work between the Royal, Nimrod and the Sydney Theatre Company it could only serve to strengthen theatre. His admiration for the fabric of British theatre — the interlocking of Hall’s generation with that of Nunn’s — carries no hint of slavish adulation. Simply it expresses a passion for the growth in the quality of work. Behind all that is that often expressed desire to see repertory nurtured and developed locally. I think the variety of Fisher’s work is a testimony to these matters. Aware that not all of this would strike a responsive cord in current debate I

return again to Chinchilla. Is not MacDonald’s treatment of biography an indictment of the characters’ evasions of responsibilities by couching their foibles in an aestheticism that is decadent? (I should add that I personally have little sympathy for my question.) If there is such a point in the play Fisher answers without heitation that it must ultimately lead to a sense of selfcriticism that feeds a wisdom not only into one’s life but into the practise of one’s art. To be preoccupied with a single line of thinking or even to be part of a steady group of people is to delimit one’s responses to the welter of influences available to theatre. There are so many influences that thrive today and Fisher sees Australia — especially Sydney — as very fortunate in the way that it is exposed to so much. To be responsible to a multiplicity of influence is to keep one’s eyes on the future.

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THEATRE AUSTRALIA NOVEMBER 1981

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TIME TO BE CREATIVE Having, as the cliche goes, come late to playwrighting, DOREEN CLARKE is certainly making up for lost time: as well as the various productions she speaks of in the interview, two of her plays will appear next year in Currency Press. She spoke of her work with MICHAEL MORLEY. You have a play about marital violence, The Sad Songs of Annie Sando, opening in Adelaide in Novem ber. It has been a good year for your work, as this will be the fourth o f your plays to be produced in Australia in the last twelve months.

Doreen Clarke

Yes, I’ve had plays produced in several states this year. Roses In Due Season, which was the first of my plays ever to be produced by Troupe in Adelaide in 1978, was on at Nimrod Downstairs. In April Bleedin’ Butter flies, a play about the Depression, had a six week season at Playbox Upstairs. It also had a production in the Northern Territory by the Darwin Theatre Company. In June, towards the end of my stint as playwright-in residence with the South Australian State Theatre Company, a comedy, a two-hander set in Queensland, Fare well, Brisbane Ladies, went on at Theatre 62. That production then toured to Melbourne for a season at Playbox Downstairs. Finally, Roses in Due Season had productions last year in Perth and Brisbane, so I have now had plays produced in every state capital in Australia. Do you think next year is likely to be as productive a year? Well, this year was really the culmination of about four years’ work, but I do have some tentative things hanging fire at the moment. A group called "Basement Theatre" are starting up on a special projects grant to do music theatre, as well as some straight plays. We’ve thrown around a few ideas and I think there’s a possibility of doing a musical satire with the, late next year, about the bombing of Darwin in World War 2. But it’s all very tentative at the moment.

As well, I’m interested in com munity theatre. I’d like to see a performing arts space set up in the Port Adelaide Semaphore area where I live — a "people place", where all kinds of theatrical events and entertain ments could take place. Several people are interested in this and are working towards it. I’m also involved in trying to set up a "Writers’ Theatre" in SA. The thrust came from the Australian Writers’ Guild and it is hoped to set up "Writers’ Theatres" in Melbourne and Sydney as well as Adelaide. I still have a sort of loose involve ment with "Troupe" and perhaps I might write something suitable for them to do next year. You have some very strong women characters in your plays and they are often concerned with issues affecting women. I think I write about women because, like most writers, I have to draw on my own experiences, or use aspects of my own personality, even while putting myself into someone else’s shoes. I f we can take up that point — one oj the things that’s said about your writing is that it’s very strong in terms of observing the female characters, but less so in its characterisation o f the male roles. Do you accept that? Yes. For me it’s a priority — though that’s not quite the word I want — to get a lot of things off my chest about being me, being female. And at the time I started to branch out into play wrighting I read a lot of feminist books — which doesn’t necessarily make me a strong feminist, though I have got to the stage where I sit in front of the television yelling "sexist rubbish!" and things like that! Maybe you get a bit overbalanced at first; I don’t think you hate men, you just hate what’s being done to women. For example, I think a lot of middleaged women are very creative, and have now got time to be creative — and time even to be selfish, because women live with a guilt thing about taking things away from their families. It’s this not putting other people first, putting yourself first — and this is

THEATRE AUSTRALIA NOVEMBER 1981

hard to do because that’s not the way you’re taught, that’s not the way you’re conditioned. You’re con ditioned to serve the family, in a way, and to get your satisfaction through the family: sometimes, to get the satisfaction which is your satisfaction, you have to go against the interests of the other members of the family. But I just feel this time is for me — after all, you're over the hill a bit, and you can see the end of the road there in the distance! When you started out writing, apart from the fa c t that you were obviously writing out o f situations which meant something to you and which were a part o f your own experience o f your own world, were there any writers or experiences that you fo u n d you could learn from ?

Well, although I didn’t have any theatrical experience, I used to read plays quite a lot: I read the easier ones,

like the musical comedies — this was years ago, when I was in my teens — the easier Shaw plays and J M Barrie, especially. I knew very little about Shakespeare, only what everybody knows. Though when I was lO'f — and I remember this vividly — we had a teacher who took us to see The M erchant o f Venice in Manchester, I think. It was a tremendous experience — I can still remember scenes: you know, Portia with the boxes and Jessica and Lorenzo, and those images — which is what theatre’s about, after all. He taught us about early theatre, which was amazing for a tiny primary school. We used to go out and dig clay and make the amphitheatres: this was quite surprising in those days, because it was a very conservative education then — though I know they do these things now — and we made those little pageant things out of cardboard, so we did in fact know something about theatrical history.

You’ve said you knew' so little about the problems o f playwrighting — construction, etc: do you think that in the m eantim e you acquired more under standing fro m writing and fro m trial and error, or fro m looking at or reading other plays?

Well, as soon as I started to take it seriously, I read everything I could get my hands on. Every single thing: I mean sometimes it was contradictory, but I just jammed all this information out of books into my head, saw every playreading I could, because playreadings are either free or cheap, and as much theatre as we could afford I managed to get to. I think that’s necessary when you haven’t got the background. I now feel I’ve acquired a skill, because it’s one of those things where actually the writing itself is the learning experience. And probably I do have some talent for dialogue.

STttARTinS yOUTH ARTS CENTRE A SEASON AT TH E PLA /B O X Opening N ovem ber 14. D o w n s ta irs THE ITA BUTTROSE M U SIC AL

WHEN LIPS COLLIDE

A PORTRAIT IN BLACK M usic and Lyrics b y G e o ffre y O'Connell and H elm ut Bakaitis B o o k b y M ichael M itc h e n e r D irected b y H elm ut Bakaitis O pening D ece m b e r 5. U pstairs

THE FLfiTfi TEMPORARY THING B y A n d re w M acP herson D irected b y M ichael M itc h e n e r

Bookings, Playbox 55 Exhibition St. Melbourne 6 3 4 8 8 8 18

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1HEATRE htemotbral Why couldn’t they have chosen a nice English play? by Roger Hall

Local plays are burgeoning in New Zealand, but is it still behind the times? And what of its relationship to Australia; has it become xenophobic in its new dramatic nationalism? Here NZ’s top playwright, and winner of the coveted of Coveted West End Manager’s Comedy of the Year Award (1979) for his play Middle Age Spread, argues for a much greater interchange across the Tasman. There’s an old joke about a Qantas flight arriving in Wellington and the Captain saying, "We are now landing in New Zealand, please set your watch back five years." Painful as it is to admit it, it’s largely true, applying as much to our cultural and artistic activities as to the more obvious material aspects of life (though we did get colour telly before you did, so there!). It’s only now that a film industry is properly under way (eleven productions forthcoming); grants to writers have substantially increased; dance companies are being formed, and so on. It’s been much the same story in theatre. Early in 1978, Dunedin’s Fortune Theatre opened its new premises with a production of my play, Middle Age Spread. In the interval two old ladies were heard talking. One was enthusing about the new building and its facilities and the other agreed with her and then said, "but what a pity they couldn’t have chosen a nice English play to open with." About five years ago, that attitude was typical of most NZ theatregoers. But now the trend has been reversed, with some theatres claiming they have a better chance of getting full houses with New Zealand plays, and in the last twelve months or so seventeen new plays have been premiered by our professional theatres. How many of these seventeen will you hear of, let alone actually see? Precious few, I imagine. The trouble is that both countries tend to look down on each other,

Vivienne Laube (Juliet) Rawiri Paratene (Romeo) in Fortune Theatre's Romeo and Juliet.

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not admitting that much of worth can come from either place. Your attitude is one of disdain; ours is of jealousy. I suspect Australia thinks that New Zealand should produce the equivalent in quantity and quality as Australia does (i.e. country should match country), but if you started regarding us as the equivalent of one of your states, which we are in size and population, then perhaps our artistic output starts becoming significant, and you might take what we do a bit more seriously. New Zealand similarly needs to change its attitude to Australian productions. The Christian Brothers came here with "Best Play" and "Best Actor" awards to its credit. "Pooh," said the GP here, "that’s only Australia," and advance bookings were terrible. Word of mouth soon ensured that the play got the full houses it deserved, but my point is that, with those sort of credentials, the box-office should have been rushed the day bookings opened. Having seen The Club in Sydney and laughed myself silly, I would willingly have put money into a NZ tour had anyone approached me to do so. Luckily no one did, because none of the productions of The Club did outstanding business... Australian, you see. The trouble is we hear little in advance about Australian plays, and you must hear even less of ours. Both countries know more about what’s on in the West End or on Broadway than on either side of the Tasman. And that’s a pity. What can be done to improve things? The most practical, and costing next to nothing, would be for Theatre Australia to devote a couple of pages each quarter, say, to reviews of new New Zealand plays. (After all, New Yorkers can read about them in Variety where they’re regularly reviewed, so why not you?) And it’s equally important that our Act magazine reviews new Australian plays. It’s time, too, that we received Aust ralian televised drama. Oh, we get The Sullivans and occasional blockbusters like A Town Like Alice, but no one-offs. People here think you don’t do any. I gather the trouble is that TVNZ can offer only such low fees that it’s not worth your while selling them to us. Well, that’s a loss for us; perhaps it's something a cultural founda tion could consider funding so that we can see something of your drama. As it is, the viewing public thinks Australia is all outback and underarm bowling. More exchanges please. Peter Carroll

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ir ir excepted, 1 don’t think we’ve had an Australian performing group here since the Pram Factory, was it, gave us The Legend o f King O'Malley in the early seventies. Of course, touring groups around another country costs money, but it's very important for everyone that it’s done, so that both sides can compare standards and learn from each other. And it’s absurd that we’re still not able to see The Elocution o f Benjamin J Franklin, either the Gordon Chater performance, or one of our own. And why? Because some bugger’s still sitting on the rights, that’s why, and what good that does anyone I cannot fathom. (In fact, Australian theatres often sit on the AustraD.v/tf/2 rights of overseas productions in the vague hopes of sending a production to NZ, but they never do and all that happens is that theatres here aren’t able to do them. And it sure hacks us off.) And we should be sending more productions to you. Last year the Elizabethan Trust kindly invited Down stage to send over their production of my Prisoners o f Mother England. Downstage got a grant from the NZ-Australia Foundation and everyone was all set to go, but the Trust finally couldn't settle on any dates so the whole thing fell through, to the intense disappointment of all at Down stage. A bad business, chums, and not one to endear yourselves on this side of the Tasman. But it's pleasing to note that you are beginning to get some of our work — you’ve had Cathy Downes’ The Case of Katherine Mansfield, and Bruce Mason’s Blood o f the Lamb, which is all to the good. And what of the seventeen plays I mentioned earlier? Two of them have swept the country: Foreskin’s Lament, and Blood o f the Lamb. And perhaps I could mention my own play, Fifty-Fifty, which, despite a cool reaction from critics, has had extended seasons at the three theatres in which it has been shown. Greg McGee’s Foreskin’s Lament has a Taranaki rugby club as its background, and the play is used to examine the male Kiwi attitude to almost everything from sport to women. It’s been described as the great leap forward in New Zealand drama. The Springbok tour has added a new dimen sion to the play, during the time that New Zealanders have put sport above politics. On the night of the day on which the Springbok match was stopped at Hamil ton, the cast reported that never had an audience been so attentive; never had the play meant so much to the actors. Foreskin's Lament has a lot that would be 20

Promises by Karl Levett

Michael Horst (Touchstone) aiul Arthur Wright (Corin) in Theatre Corporate's production o f As You Like It.

relevant for an Australian audience. It is McGee’s first play, and now the theatre world here eagerly awaits his second. Blood o f the Lamb arose from a commission given to Bruce Mason by the Court Theatre of Christchurch. The conditions were stringent: to be acted in a studio theatre; not to be set in a room; and the actors to be three women. Mason, stricken by cancer which had curtailed his performing his own brilliant one-man shows, rose to the challenge to produce a theatrical tour-de-force, which won rave reviews, full houses everywhere, and even resulted in a standing ovation in Dunedin (and you have to live in Dunedin to appreciate how rare that is). Now Mason is talking of performing again. If he does so, invite him over immediately — his End of the Golden Weather is a great piece of theatre. To give details of the other plays would take more space than I’m allotted, but Playmarket, the main agency in New Zealand, would send scripts — their address is PO Box 9767, Wellington. They also publish a catalogue of more than forty New Zealand playwrights and the works available. As many a business letter ends: "We look forward to hearing from you shortly".

THEATRE AUSTRALIA NOVEMBER 1981

Although you keep telling yourself that you should know better by now, each year in November the theatrical season always seems to hold so much promise. Experience has taught you that by next July you will feel quite differently, but just now you can still believe that this might be the season when the Fabulous Invalid gets out of bed and stands tall. On Off-Broadway, two end-of-summer ventures have contributed to this climate of hope. Although one play is by a first time out dramatist and the other by a famous playwright, the two share a quality of qualified promise. At this stage, to apply the word "pro mising" to Tennessee Williams might seem inappropriate, but this was the word that kept coming to mind while watching his new play Something Cloudy, Something Clear at the Jean Cocteau Repertory. Perhaps it was because of theplay’sdefence of innocence, plus the fact that Mr Williams is back on firm autobiographical ground giving "a portrait of the artist as a young man." One thing about Tennessee Williams — the guy’s got guts. Just last season he took unusually cruel punishment from the New York critics for his first Broadway venture in years, Clothes For A Summer Hotel. He departed Broadway with bitter words, even mentioning Australia in his effort to put as much distance as possible between himself and New York. Now here he is back with Summer Hotel rewritten twice, plus a new two act play. In Something Cloudy, Some thing Clear someone asks the young playwright how long he will go on working: "Till I die from exhaustion" he replies. It looks like Mr Williams means it. We are witnessing the phenomenon of the man everyone bills as "America’s greatest living playwright" scurrying to find, in New York,asafeharbour. Heseems to have found it at the Jean Cocteau Repertory, a company of about a dozen performers under the artistic direction of Eve Adamson. The group last season presented several, little seen Williams works. It is clear that in this Off-OffBroadway company Tennessee Williams has located the climate of encouragement and dedication he was seeking. But Some thing Cloudy, Something Clear exposes the performing limitations of the group and

demonstrates that maybe reverence is not enough. The play is a fictionalised memoir of the young playwright in a Provincetown beach shack in the summer of 1940. There on the dunes we see his first brush with the Broadway sharks and his one-sided ro mance with a doomed Canadian draftdodger. Both these autobiographical aspects are presented with sharpness and wry humour, but the unconvincing fictional filler includes a young woman who is the sister-love of the draft dodger and a gangster who is the despised keeper of the young woman. (These dunes are very busy.) As well, the young woman has not long to live. (Caution to young playwrights: only one Camille-type character per customer.) This excessive romanticism is somewhat modified by the play being a memoir complete with time games and a couple of other memory dialogues with unseen ghosts. (One of these is Tallulah Bankhead and the content is intriguing if not particularly relevant). Something Cloudy, Something Clear has about it the charm of immaturity, and is more entertaining than this dissection might suggest. If the identification of the author were not known it would have been definitely branded with that "dirtiest of all dirty words — ‘promising’." Certainly this is only one of the words of praise that have been heaped on Kevin Wade for his first play Key Exchange. The play began at the WPA Theatre, one of Off-Off-Broadway’s brightest groups, and has been transferred for a remunerative run at the Off-Broadway Orpheum Theatre. The setting is a timbered stylisation of a bicycle path in Central Park. We meet Michael who the previous day has married the girl he has been living with for several years; Phillip, a macho writer of detective stories and the lovely Lisa who shares an on-again-off-again affair with Phillip. In nine short scenes taking place on consecutive weekends, we follow these two battles of the sexes. Michael’s bride who remains off-stage is the fourth character in this discordant quartet. For a fledgling playwright Mr Wade deserves full marks for the theatrical originality of his concept and for the professional facility of his writing. He achieves some nimble expository scenes and is capable of the fresh and surprising line that comes out of left field. The play as a whole, however, is dangerously slick and these three cyclists are riding on very thin material.

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There’s a significant irony in the fact that in new hip comedy such as Key Exchange, where there is total freedom of language for the characters to say what's on their minds, the play ends up with having nothing remotely original to say. CASTING DIRECTORY Phillip to Michael; "You miss her, don’t you?" Michael to Phillip: "It’s very Photographs and con tacts fo r complicated." And that’s about as deep as nearly 2 0 0 0 A cto rs and A ctresses we get beneath the veneer of Mr Wade’s instant professionalism. Brooke Adams as LIMITED EDITION Lisa has bounce and charm and presents a new stage type: a natural soubrette not PRICE. $30,00 afraid of four letter words. No doubt Kevin (including postage in Australia) Wade has promise but a few more SHOWCAST OFFICES awkward echoes and reverberations of the Tennessee Williams variety would be Head Office: (02) 908 .1099 , welcome. 13 Macpherson St. Mosman 2088 Meanwhile, looking ahead to the (near Cremorne junction) coming season on New York stages hope Victoria: (03) 729 8282 stirs and the pulse quickens: (24hrs 729 6914) MUSIC, MUSIC, MUSIC: Musicals P.O.Box 288 Croydon 3136 will continue their Broadway takeover. The most keenly anticipated is Merrily We QLD: (075) 32 5021 S.A. 212 6277 Roll Along, Stephen Sondheim’s latest W.A. 328 1444 TAS: 252517 effort based on a Kaufman and Hart play N.T. 81 5522 N.Z. Wellington 858 221 of the same name — Harold Prince will again direct. Michael Bennet has a new Also publishers of contender in his A Chorus Line mould. Australian Variety Directory Dream Girls, about the lives of backup Contacts & Facilities singers. The Eirst is based on the life of *+ Performing Arts Year Book ^ baseball champion Jackie Robinson, the first black to play in major leagues. ENCORE MAGAZINE Another musical biography has Larry Kert as A! Jolson in .lolson Tonight. There’ll be a salute to Harlem’s Apollo Theatre in its heyday. The Apollo... It Was Just Like Magic. A six foot invisible rabbit will be seen in the musical version of the play Harvey called Say Hello To Harvey with Donald O'Connor and Patricia Routledge. Off-Broadway there'll be Edward Kleban’s Gallery — he was lyricist for A Chorus Line — at the Public. Gene Kelly will direct yet another biography Satchmo, with Ben Vereen as you-know-who. Director. Gillian Owen STAR QUALITY: Katherine Hepburn, assisted bv Dorothy Loudon, will play a 555 Military Road, Mosman 2088. retired concert pianist in The West Side P.0. Box 371, Spit Junction 2088. Waltz by Ernest Thompson (Hepburn has Telephone: 960 3680. dibs on this playwright it seems, just 3 year Diploma Course having starred in the film of his play On Evening Classes Golden Pond). Claudette Colbert, with Fully comprehensive training for Jean Pierre Aurnont, returns in a new professional theatre including thriller A Talent Tor Murder. At Circle in radio and television the Square, Joanne Woodward will be Candida directed by Michael Cristofer. Entrance by Audition. Later at the same theatre which is clearly ENQUIRIES: 960 3680. reaching for the stars, Nicol Williamson Mon to Fri: 2 — 6pm. will try on Macbeth. Other classical endeavours will see Michael York as 21 THEATRE AUSTRALIA NOVEMBER 1981

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SHOWCAST

S ydney A c tin g ■~H ÏT-T-]

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I The complete strip show by Irving Wardle Josie is a working-class beauty with sexual fantasies as limitlessly exotic as an Amazonian rain forest, and no means of satisfying them apart from a German lover who gives her more black eyes than orgasms. Old Mrs Meadows and her daugher Dawn live in a leaky council house and rarely go out ever since Dawn was interfered with by a policeman and turned peculiar. Meg and her friend Nancy are a pair of Grade-A girls, going solo after the collapse of their two-car marriages. You would not expect these ladies to have must to say to each other, but as it happens they have an interest in common. They love taking a Turkish bath. And in Brooke Adams. Boi Masters and Mark Blum in Nell Dunn’s play Steaming (Comedy) the Key Exchange. Photo: Carol Rosegg. mouldering municipal bath house emerges Hamlet at the Roundabout and William as that rare English institution, a non Hurt as Richard II at the Circle Rep. exclusive club where women of every BUNDLES FROM BRITAIN: Nicholas degree take refuge from the world of Nick/ehy, the entire RSC production, will cancelled buses, bolting menfolk, and be the major import of the season. A dead-end jobs. bundle that indeed will cost a bundle — Idle to deny that the sight of a comely $100 a ticket for the two four-hour female company shedding their towels en performances. The Dresser will have Tom route to the steam room adds a theatrical Courtenay in his original role, with Paul bonus even for spectators indifferent to Rogers as the actor. feminism, class barriers, and the state of OFF IS ON: Off-Broadway’s Man Britain’s civic hygiene. For male voyeurs hattan Theatre Club transfers two of it-s there is also the lure of hearing what best to Broadway; Bill C Davis' Mass women talk about when they are alone. Appeal with Milo O’Shea and Beth These base pleasures are clearly all part Henley's Pulitzer Prize-winning, Crimes of Miss Dunn’s plan. From her generous O f The Heart. From the Hudson Guild viewpoint there is nothing incompatible comes Sheldon Rosen’s Ned And Jack, between bringing the customers’ eyes out concerning playwright Edward Sheldon on stalks and staging a demonstration of and actor John Barrymore. Actress female solidarity. Steaming, in fact, is the Colleen Dewhurst will direct. complete strip show, in which the SCREEN TEST: Hollywood goes characters proceed from taking their Broadway as two leading directors come clothes off to dismantling their marriages, east. Robert Altman will direct a double their class prejudices, and their innermost bill by new playwright Frank South, Two ideas of who they are. By South. William Friedkin is the director It is laid out in brief scenes, and first of the English import Duel For One. with comes over as an inconsequential slice of Anne Bancroft and Max Von Sydow. life while we are getting to know the FOR THE FIRST TIME: Jules Feiffer regulars and their routines. Given Miss has two; Grownups on Broadway and A Dunn’s ear for authentic speech (she is the Think Piece for the Public. Maggie And author of a minor classic called Talking to Pierre, about the Trudeau marriage, opens Women), the sight of Josie arriving with the Phoenix Theater season. Roy Dotrice her latest debt-ridden complaints or Dawn will be Pope Pius VII, kidnapped by furtively feasting on jelly babies in her Napoleon in Edward Sheenan’s Kingdoms. curtained alcove is quite enough to be And the most intriguing title so far is Tom going on with. Then the dramatic gears Griffin’s Einstein And The Polar Bear. unobtrusively engage, and in turn each of Ah, promises, promises. the girls has something to give the others. 22 THEATRE AUSTRALIA NOVEMBER 1981

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The business of the play is to demonstrate the possibility of exchange between people whom society normally separates. The process works through class anger, per sonal sympathy, and finally group action when the ladies barricade themselves into the baths in defiance of a council demolition order. By this time Steaming has changed from a slice of life into an enchanting fairy tale in which Dawn sheds her invalid role, the inhibited Nancy is all set for sexual adventure, and the unqualified Josie is about to get an education. It is too good to be true, but thanks to the work of Roger Smith’s fine company, and above all to Georgina Hale’s Josie — a marvellous blend of frailty and toughness, with a vocal tremolo to match Count Basie's brass section — you want to believe it. To the RSC’s current audiences any reference to public baths is likely to induce a shudder, in the wake of two productions on totalitarian atrocities. Solzhenitsyn’s The Love Girl And The Innocent (Aldwych) is a companion piece to Ivan Denisovich, following the experiences of a new intake at a Stalinist Corrective Labour Camp, and showing isolated pockets of human decency somehow surviving inside a criminal system designed to destroy it. It is a work of Tolstoyan indignation.

AUSTRALIAN CENTRE INTERNATIONAL THEATRE INSTITUTE 153 Dowling Street, Potts Point, NSW, 2011. Tel: 357 1200. Director: Marlis Theirsch Secretary: Alison Lyssa

WOMEN PLAYWRIGHTS ONSTAGE Earlier this year The Dramatists Guild Committee for Women held a meeting in New York on "Women Playwrights Onstage: Their lives reflected in their work". Special attention was drawn to an important book. Women in American Theatre, compiled by Helen Krich Chinoy and Linda Walsh Jenkins. (Crown Pub lishing, 1 Park Avenue, New York NY 10016). Good reading!

PLAYSCRIPTS FROM AROUND THE WORLD

Sheila Raskin, Jo Warne, Meg Davies, Georgina Hate, Maria Charles and Brenda Blethvn in Steaming.

full of urgent first-hand testimony, and the RSC have treated it as a major event with monumentally realist sets by Ralph Koltai, fully evoking the dehumanizing conditions of camp life. The same achievement, alas, cannot be claimed for Clifford Williams’ company, who excel in grotesque farce and grafting intrigue, but fail to convey the physical extremities of cold, hunger, and daily fear of death. Add to that the bathetic central relationship between the virtuous "innocent" hero and the Gulag courtesan he loves and loses, and you have the makings of something less than a great occasion. Unjustly, the British playwright C P Taylor, who knows it only by hearsay, has more to say about the totalitarian experience than the victimised Solzhenit syn. Taylor’s play Good (Warehouse studio) tells the story of an anxious young liberal academic who finds happiness and fulfilment in the SS. We watch him, by imperceptible degrees, shedding his Jewish best friend, countenancing book-burning and anti-Semitic purges, and ending up as Eichmann’s representative as Auschwitz. At every stage, he finds a plausible defence for what he is doing; and Taylor’s great achievement is to present the action from his point of view while simultaneously putting the events in ironically critical

Recently we have received the following titles of new international plays dis seminated by the Hungarian ITI Centre. Copies are available for study at the ITI office, the Sydney Opera House Per forming Arts Library and the State Theatre Company of South Australia, library: from Finland — Runar and KyUikki, by Jussi Kylatasku, (trans Philip Binham); from Egypt — Cat o f Seven Lives, by Raafat El Deweri, (trans Nancy Witherspoen); from Czechoslovakia — Knees-up in the Sand, by Zdenek Kaloc, (trans John Newton); and from Australia, Roger Pulvers, Witold Gombrowicz in Buenos Aires.

perspective. He does this partly through a masterly handling of stage time (combin ing multiple strands of retrospective and immediate events), and partly through the DANCE IN THE device of an on-stage cafe quintet, whose selections from the Student Prince and the NETHERLANDS 1978-81 Richard Tauber repertory are ceaselessly An instructive report published by the playing away inside the hero's head until Dutch ITI Centre. Available from: Nether he arrives at Auschwitz where, at last, he lands Theatre Institute, Herengracht 166finds there is a real band. Alan Howard’s 168, 1016 BP Amsterdam, Netherlands. performance as the intellectual traitor leaves you feeling you might have behaved CANADA S PLAYWRIGHTS in exactly the same way yourself. This biographical guide documents 74 Australians who remember the name of authors. Available from the publishers, Barry Humphries may be interested to Canadian Theatre Review Publications, learn that his famed creation. Dame Edna York University, 4700 Keele Street, Everage, has just scaled new heights bv Downsview, Ontario M3J 1Pe. taking over the Albert Hall in a selfaggrandising gala called Last Night o f the THEATRE Poms, backed with the full resources of the COMMUNICATIONS London Symphony Orchestra and the GROUP Antipodean Singers; and performing two With the support of the National large works by Carl Davis — Peter and the Endowment for the Arts (USA), has Shark ("One hot December morning published Graphic communications fo r the Peter... hammered down the Freeway to performing arts, an interdisciplinary com lonely Effluent Beach"), and a cantata. pendium of outstanding promotional Song o f Australia. The whole thing struck graphics from the worlds of non-profit me as a preposterously over-inflated joke theatre, music and dance. Available: TCG that prevents Dame Edna from doing what Publications Department, 355 Lexington she does best — insulting a hand-picked Avenue, New York, NY 10017. selection of spectators. But the galdioliwaving fans seemed to love it. 23 THEATRE AUSTRALIA NOVEMBER 1981

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ACCIDENTAL DEATH OLD TIMES by Janet Healey A ccidental Death o f an Anarchist b\

D ario Eo Fortune 1 heat re C om pany. Canberra A CT. O penet Septem ber 12 19X1. Director. Brent M cGregor; D esigner. Janet D aw son . Cast: H istriom aniac. George W haley; B e r to //o . He« M cM illan; I’issani. Joh n Paisley; Superintendent M ichael Boddy; C onstables. Bill M cCluskey; Feletti. Tam ara Ross.

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lim e s by Harold Pinter. Fortune Theatre. Canberra AC I . Opened O ctober 3 19X1. Director. C eorge W haley; D esigner. Janet Dawson: Stage Manager. A lice Hekrmian. Cast: D eelcy. Martin Redpath; Kate. M argot dc Mestre; A nna. Tam ara R oss.

(Professional)

Several months ago I wrote of the high hopes engendered by the emergence of a new professional company. Fortune Theatre, under the artistic direction of George Whaley. By September 12 the excitment was at fever pitch; it was the opening night of Act ¡denial Death of an Anarchist, by Dario Fo, Fortune’s first production under the new dispensation. Hard on its heels, three weeks later, came Whaley’s first production for the com pany, Pinter’s Old Times, which opened at the Playhouse on October 3. Fo’s farce was essentially the Sydney production by Brent McGregor, with Whaley in the central role of the histrio maniac. It was a vigorous, rib-tickling, highly professional production which made good use of the flexible space at the ANU Arts Centre. I loved it, but in the audience 1 sensed some dissatisfaction. People were confused by the hint of commedia del arte, and a common com plaint was that the play is not relevant (their term, not mine). For them the injection of jokes with a purely local reference, far from overcoming the lack "relevance", tended to emphasise it. 1 report these reactions because 1 have to say that my own response was quite different. Beneath the comedy and the biting satire 1 found a metaphysic which gave the play a broader and more complex substructure than that of entertainment and political comment. "Is God a lunatic?" emerged for me as the most interesting question raised by the play. And is it not 24

Margaret de Mestre in Tort line's Old limes. Photo: (iraetne Watson.

the essence of farce to ask that question, if not to answer it? Whaley’s was a virtuoso performance; it’s probably inherent in the play that the other roles do not make such an impact. Hec McMillan ( Bertozzo), Michael Boddy (the Superintendent), and Bill McClusky (the Constable) infused their caricatures with personality through idiosyncratic mannerisms and skilful costuming. John Paisley (Pissani) was not well cast, except in physical type; and Tamara Ross (Maria Feletti). despite an amazing blend of machismo and super-feminine volupie in her accoutrements, had not come to grips with the role and even, surprisingly, fumbled a few lines.

THEATRE AUSTRALIA NOVEMBER 1981

• A m

• •

i n Tribute to a m asterpiece

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In Old Times, as in all Pinter’s plays, the verbal structure is silence punctuated by tantalisingly suggestive chat, and the location is a room situated nowhere in time or space. But this play uses no symbolic props except the room itself. With the setting thus pared to the bone, the ever shifting emotional alignments of the drama are conveyed by gesture, by subtle changes of intonation, by a breeze flut tering the curtains and evoking the world outside the play. The sub-text is the whole text. In middle-age, Deeley, his wife Kate and their friend Anna recall their association twenty years earlier. Memory restructures the past and invades the present. A threeway sexual alliance is hinted at but never made explicit in this spiritual menage a trois. By some dramatic magic that 1 can’t analyse, here-and-now reality is ever present in the hinterland of the play, comes briefly, shockingly into prominence at the end as Deeley sobs in Kate’s lap, and recedes again in the final tableau that re establishes the eternal triangle into which these three are locked. Martin Redpath gave a moving por trayal of Deeley, a man trapped between two women and needing both, the arm chair of middle-age his natural habitat. Tamara Ross splendidly redeemed several recent below-par performances with a rivetingly tense, and intense, performance as Anna. Margaret de Mestre’s Kate was simply the best thing 1 have seen her do. Huge eyed, enigmatic, withdrawn, innocent, beautiful, she was magnetic in every way and at every phase of her re-lived ex perience. 1 recall particularly her almost foetal crouch under the joint possessive gaze of Deeley and Anna: the language of face and body was immeasureably more eloquent than speech. Janet Dawson’s design and Libby Smith’s costumes perfectly complemented George Whaley’s sensitive production, which was glowingly alive with reverence for the text. This play lived with me for days, and grew in stature as it haunted my memory surely a tribute to a master piece, and to Whaley's production. The play, and its performance, were like a stone thrown into a pond: the ripples widened to infinity. Fortune Theatre, aptly named, has shown us what it can do. Pray God that the fortunes of politics and economic recession do not deprive us of our first truly proless ionaI company.

F a n ta stic fam ily d ram as LAST DAY IN WOOLLOOMOOLOO BLOOD OF THE LAMB by Edward Howard L ast Day in W o o llo o m o o lo o by R on Blair. Nimrod, S ydney N SW . O p en ed O ctober 7, 1981. D irector, John Bell; D esigner, Tony Tripp; Lighting, Jonathan Ciddor; Stage Manager, Anne-Marie Morgan. Cast: Pat Evison, Ralph Cotteril, Leslie Dayman, Ronald Falk, Peter Collingwood, Robert Alexander, Stuart Campbell.

(Professional) Blood o f the Lamb by Bruce M ason. Court Theatre o f Christchurch NZ. Phillip Street Theatre, Sydney, NSW . O pened O ctober 6, 1981. D irector, Elric Hooper; D esigner, Stage M anager, Simon Allison; Lighting and Sound, Joe Hayes. Cast: Elizabeth M oody, Judy Douglass, Tomascita Edgerton.

(Professional)

Ron Blair’s Last Day in Woolloomooloo at the Nimrod fills a gorgeous set by Tony Tripp of a bigold Sydney flat bombed away at the corners with an accidental family of amiable failures, all down and out men, except for the "manageress", Doreen. Doreen, generously played by Pat Evison, is like a rotund maypole, the mother around whom the men — ageing homosexuals, the shell-shocked, a failed union official and others — revolve. In turn, Doreen and her brood revolve around the old Kelvinator full of beer. The boys are bad children. Doreen extracts the rent from them, but mothers them, lends them money, advises them,and steps between them when they square off to fight each other. The bad daddy is Dave, the tuxedoed landlord. He is on first names with the boys. Doreen gives him absolute allegiance. She agrees to keep his secret: their house, which is the only place they exist, is to be auctioned. He expects to make $120,000 profit. Dave, played by Robert Alexander, is an aloof stereotype, suave and not poor China, Ralph Cotterill,seemsmoreEnglish than Australian-Irish but makes thechange from whinger to revolutionary. He is a union official who was discredited for tickling the till. He stages the revolution against Dave the Father, and clears the stage of props to barricade him out. He cranks up Eric, an alcoholic old Anzac, gets him to put on his slouch hat, and yells Japs! so that he bayonettes Dave.

Les Dayman and Ralph Cotterill in Nimrod’s Last Day in Woolloomooloo

Doreen, who at first defends Dave, comes over to China’s side, and helps to put the body of poor Eric, who has collapsed, into the fridge. It is an oedipal triumph for China, and he and Doreen exchange tender glances, and plans. Peter Collingwood plays Ted, a myste rious, well-groomed tenant interested in dreams. He brings Doreen’s cat, Cinders, back from hilarious rigor mortis. And at the end he brings Eric back out of the fridge, and revives him by magic. Afteraskingfora beer, Eric tells of conversations with pharoahs, and how the dead did not envy us our aliveness. It is a paradox that the character who is most out of it, who is drunk on the floor at the raising of the curtain and who is vague even about his vagueness throughout — that Leslie Dayman makes him the most human, the only one who doesn't stand for anyone else but himself (when he is able to stand). So the deadest of these living dead emerges as the quickest. The perspective of magic, or of the artist, that we are all sleepwalkers, that we must awake, seems to vanish, as Ted sneaks around in his sandshoes pulling cards from the air. An excellent and relaxed production from director John Bell, with good performances by all, especially Pat Evison and Leslie Dayman. New Zealand playwright Bruce Mason, having read Marilyn French’s The Women's Room, wrote Blood o f the Lamb for three actresses and no actors. It is a male

feminist’s play about women, and the Court Theatre of Christchurch’s produc tion at Sydney’s Phillip Street Theatre was one long, awkward moment. On one interminable verandah, it struts like Shaw but lacks wit. Tomascita Edgerton, the prodigal Vic toria, returns to tell her father Henry (Elizabeth Moody) and her mother, that she is getting married. She discovers that her father gave birth to her and suckled her and that her mother is really her mother’s lesbian lover. Children sense these things. Victoria comes round, from the verge of nausea to a sisterly solidarity with these gay deceivers against men, who only believe in Screw, Kill, Erect. The production is stagey, so florid with potted puns, sing-song delivery and rolled Italian, so cute and pressurised and lacking ease. When Henry Higginson and Eliza Higginson tell Victoria how Henry had been vigorously raped by her betrothed, the planter Kirkwood, who was Victoria’s true father, and who had killed a lamb and poured the blood over his head and groin before raving her vaginity — we didn’t want to get involved. But I must admit I fought goosebumps when Victoria was able to embrace Henry. Elric Hooper’s direction is frenetic; the three swap chairs and won’t let the patter drop. Their accents were convincing. When the light strikes her at a certain angle, Elizabeth Moody as Henry, in baggy white suit, ascot, short back and sides and husky voice, is almost Les Patterson.

THEATRE AUSTRALIA NOVEMBER 1981

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review

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Humanity and humour CAT ON A HOT TIN ROOF PINBALL by Michael Le Moignan Cut On I llo t Tin Roofbs Tennessee W illiams. Svdnc) I'heatre C'ompanx at the Opera H ouse. S \iln e \. NSW . Opened Septem ber 22 19X1. D irector. Richard Wherrett; D esigner. Ian Robinson; Lighting D esigner. Peter Smith; Stage M anager, Fiona \ \ ¡Hiatus. Cast: Margaret. Wend) Hughes; Brick. John llargreares; Mae. Monica Maughan; Ciooper. John I’arantor; Big M ama. Joan S \d n c \; S o o k e \. Darlene Boline; Big D a d d ). Ron lladdrick; Rev lo o k er . Peter R o » le\; Dr Baugh. John ( la\ton: D ixie. I elicit) Blaekadder or Caroline Magarev; Trixie. IIa>le> .lose \nderson or Alison W heeler.

(I'l tilcssionul) Pinball b\ Alison l.sxsa. Nim rod D ow nstairs. Sxdnex NSW . Opened 9 Septem ber 19X1. Director. C hris Johnson; D esigner. Kate Jasonsmith; I igltling D esigner. Kerin MeKie; Stage Manager. Stephanie Walkem. Cast: llteen ie. Jenn) i.udlam; Axis. Natalie Bate; V andelope. Miriam. Kerr) Walker; Louise. V iolet. Old W om an, ( ceil) Poison; S \l\e s te r . Archibald. Porteous. Roger l.eaeh; S olom on in disguise as Kurt and others. Paul Bertram.

.1ohn Hargreaves (Hrick) mu/ Ron Haddrick (Hit; Daddy) in SIX " a Cat On A 1lot Tin Roof.

(I’ro/cwioiuil)

One of the highlights of the year in Sydney's theatre is undoubtedly Richard Wherrett's intriguing production of Ten nessee Williams' 1956 classic. Cal On A Hot Tin Roof, for the Sydney Theatre Company at the Opera House. Williams’ soul-wringing Southern specials are an enticing trap to the unwary director: they read so well that one is tempted to think that perhaps actors of only moderate talents could make a reasonable job of the plays. This is not the case; the cadences of those elegantly mannered monologues which ring so splendidly in the mind’s ear are much more difficult to deliver convincingly, and the subtle layers of deception, of self and others, that is practised bv most of the characters, requires from the actors a rare appreciation of the changing balances of power. All too often, these marvellous plays, the crown jewels of the American theatre, are inadequately performed or simply over acted, becoming in consequence sur prisingly mawkish and melodramatic. Wherrett's production avoids all of these traps, thanks to the range and diversity of Wcmly Hughes as Maggie in SI C' s Cat On A the acting talent he has assembled. 1lot Tin Roof. 26 THEATRE AUSTRALIA NOVEMBER 1981

In casting Wendy Hughes and John Hargreaves as Maggie and Brick, he has offered two of the most brilliant film actors in the country an irresistible challenge; in Ron Haddrick. he has one of the wiliest of theatre craftsmen, who steals from ’his apparent miscasting as Big Daddy a performance of beguiling charm and pathos; Joan Sydney. Monica Maughan and Peter Rowley are all exceptionally gifted character actors who make the most of the opportunities offered them by the text. Ian Robinson's set takes a little getting used to, thanks once again to the Drama Theatre’s stage, whose enormous width requires all performances to take place in cinemascope. We are in the bedroom of Big Daddy’s favourite son, the candidly christened Brick, and his Southern belle ladywife Maggie, also known as The Cat on the heavily metaphorical Hot Tin Roof. Big Daddy has $10.000,000 and 28,000 acres of the richest land this side of Wup Wup. But is this, one wonders irreverently, any excuse for his son having a bedroom the si/e of a baseball pitch? The sheer scale of the set is a nagging irritation throughout the play; if this is only one of the bedrooms. Big Daddy’s mansion must be nearly as big as the Opera House itself. The actors' problem is to be big enough for the set but small enough for realism — and Williams’ work is realistic, un comfortably and sometimes excruciatingly so. Wendy Hughes’ Maggie is unexpectedly low-key but triumphantly feline, a com pelling mixture of musky femininity and sharp claws. She is cat-like in her alertness and vitality, and cat-like in the way she stalks her prey, the wounded Brick, who still bears the scars from the last time she lashed out. There is no screeching and yowling from this cat: it is the opposite approach to Natalie Wood’s fiery inter pretation, in Laurence Olivier's TV version of the play. This cat is more house-trained and therefore, most effectively, more vulnerable to Brick's cruelty. For most of the time. Hargreaves’ Brick is a similarly restrained performance, which gives added impetus and shock value to his outbursts. The second act dialogue between father and son is a remarkably powerful piece of theatre; Brick is forced to confront his or his friend's latent homosexuality and Big Daddy is forced to confront his imminent mortality. Hargreaves and Haddrick timed their crescendos superbly.

Alcohol is Brick’s crutch, symbolised unsubtly by the crutch he uses on stage; Big Daddy's tragedy is that there is no longer a crutch in the world that can support him. The deep hopelessness of the South, robbed of its nationhood, echoes forlornly through the play. The women love, and the men do not believe them. That is their affliction. The other son, Gooper, and his nosey wife Mae, are terminal Festival of Lighters, eaten away from the inside by cankerous greed and snobbery and acquisitiveness. It is not an attractive picture, but a compelling one. Many productions of this plav tend to emphasise the rather loath some exteriors of the characters, leaving the audience with no-one to love. The success of the STC's production is its warmth and compassion: we do care about Maggie, because we have seen her vulnerability, and the often criticised “ happy ending” is dramatically satisfying. Alison Lyssa’s Pinball, the first play directed by Nimrod’s Trainee Director, Chris Johnson, is a very uneven work, full of promise and sometimes brilliantly sharp and witty, but also muddled and some times clumsy and overstated. In depicting viv idly the harsh treatment meted out to a couple of lesbian parents, by their relatives, the law courts and society at large, it makes a strong sexual-political case. To the militants, it is doubtless another blow in the sex struggle that has so conveniently diverted middle-class atten tion from the class struggle. Artistically, the play's militancy is its greatest handicap; it condemns the author to a seriousness of tone that she rarely escapes. Where the atmosphere ought to be revolutionary and inspiring, it tends to be sanctimonious and self-righteous. Not to sav downright sexist. It makes an interesting comparison with Cat On A Hot Tin Roof: there, Maggie, although plainly scheming and selfish, wins the audience’s sympathy despite her glaring defects. The heroine of Pinball. Theenie, is portrayed as a paragon of moral virtue who curiously doubts her own perfection — this is neither endearing nor convincing. The character essentially fails to command our sympathy because she evidently does not see herself clearly. Jenny Ludlam caught Theenie’s naive enthusiasm beautifully, but the variety the part needed was just not there in the writing. Natalie Bate, as Theenie's partner Axis (around whom everything revolves) created a highly idiosyncratic, captiva

tingly kooky tower of strength. Kerry Walker contributed a delightful cameo as the feminist equivalent of a hardline Marxist-Leninist agitator. Cecily Poison and Roger Leach, changing characters and appearance at dizzying speed, scored (and deserved) most of the laughs. Paul Bertram’s Bible-quoting Solomon, sym bolising patriarch, master, father, hus band, in fact the manv-headed oppressor of gentle and innocent womankind, was tremendous fun to start with but ultimately became rather a bore. The plav and the production lacked humour. There were plenty of funny lines, but always, it seemed, with a sneer or jibe attached; the playwright keeps nudging her audience sharply in the ribs to make sure we've all got the point. Perhaps it is not humour that is lacking, so much as h u inanity. Kate Jason-Smith's ingenious set makes imaginative use ol Nimrod’s limited Downstairs space. J he cast give intelligent performances, with great energy and vigour, but overall, methinks. the ladies do protest too much!

Lacking full power MEGALOMANIA BURIED CHILD by Anthony Barclay Megalomania. M arionette Theatre ot Australia. I he Stables. S v d n e\. NSW . O pened Septem ber 8. 1981. With: G eoff Kelso, Jude Kurinfj, John Black. Dasha Blahova (A rtistic A dviser). Eamon D'Arc> (D esign): and the Marionette T heatre.

(Professional) Buried Child b> Sam Shepard. Q Theatre. Penrith. N SW . Opened Septem ber 4. 1981. Director: Richard Brooks; Designer: Arthur Dicks; Stage M anager. Hugh Powell. Cast: D odge. Ben Gabriel; Halie. June Collis; Tilden. Bevan W ilson; Bradley. Alan Brel; Vince. Alan I letcher; S hells. Laura Gabriel; Lather Dew is. Jack Youens.

(Professional)

I take it that Megalomania was a group inspired affair. Overall it was an uneven romp, a kid’s show for adults (at times vice versa), with lots of energy and fun and about as much punch as Not the Nine O'Cloek News. Maybe it was a careless final night performance, or maybe some nights the improvisations did not hold together? Perhaps Geoff Kelso was not joking when he told us that the first half of the show was usually longer but since he was "feeling like a piece of shit on toast"

interval would now be served! The energy was diffusely spread across a range of satire — variously witty, clever, boring or silly — on the state of the nation. As a result everything hit the fan. As well the audience were cajoled into standing and sitting for health reasons or harangued into singing the Megalomania national anthem. Late arrivers were sullied for being late and some were confronted for not enjoying the show. Simply the major flaw was in the writing. One has no doubt about the capabilities of the performers. But many potentially fine moments were marred bv tedious asides and in-jokes. The second act was marred by some very undisciplined playing. But that 1 take it was the spirit of things. Mv advice: get a second breathalyser, a second goSam Shepard’s Buried Child is a very powerful play. Savage, wildly comic yet compassionate, it is a poetic essay on a rural Illinois family. Of course, the play’s poetry reaches beyond one family and into the fabric of American myth — this American gothic deals with the drowning of a baby child by the father (Dodge) and the subsequent disintegration of a family desperately bound by the guilt of its murderous secret. In that very specific American way the activity of human behaviour is inexorably reflected in the natural world. This production carried glimpses of that power but was marred by many limita tions. The most striking — though this is not a criticism — was the way that the Bankstown Town Hall swallowed up Arthur Dicks’ set. But this was something one adjusted to — the exigencies of touring are difficult enough and it is with some regret I learned that this will be the last of the Q’s laudable subscription seasons to Bankstown. Rather what was puzzling was the stage blocking and movement which might have worked well in the intimacy of the Penrith theatre but left one very distant and cold here. Bevan Wilson, though, was masterly as Tilden and this was not merely because his character is so obviously mad. His accent, rhythms and timing were impeccably in tune with Shepard’s poetry. His per formance carried enormous emotional power. Laura Gabriel after a shaky start managed to convey the necessary range required of Shelly. The clash between the play’s poetry and a kind of gestured naturalism left one wanting to see a production that could achieve the full power of Shepard's work.

THEATRE AUSTRALIA NOVEMBER 1981

Soul of Newcastle ESSINGTON LEWIS: I AM WORK by Katharine Brisbane Essington Lewis: / Am Work by John O'Donoghue. Hunter Valley Theatre C om pany. Civic Playhouse. N ew castle. NSW . O pened Septem ber 5 1981. Director. Aarne Neeme; D esigner. Brian Nickless; Musical Director. Allan M eladden; Production M ana ger. l oreaux Kirby; Stage M anager. I ran Stanton. Cast: Vic Rooney, John D oyle, Jerry Crawford, Julie Kirby, Darid Wood. Allan M el adden. Julie Hudspeth, Jonathan Biggins.

(Professional)

Newcastle can believe, after six years of struggle, that the Hunter Valley Theatre Company is here to stay. The past year has been one of consolidation; not only are the actors a local team but the company has its own composer in Alan McFadden. Turning points have been McFadden’s Peter Matheson’s and John McCallum’s rock musical. The Star Show, last year and this year a record-breaking season of Habeas Corpus which succeeded for the first time with a popularaudience, director Aarne Neeme says, "without a Sydney star". The company is young and Sydney audiences at the Seymour Centre last month would have noticed the strong hand of the tutor director which Neeme has always been. It will take time for the actors to grasp their roles into their own hands with confidence in new environments. But back home it is different. They have set down roots in their theatre and play with the confidence of complete familiarity. This has never been so evident as in the current production of John O’Donoghue’s new play, Essington Lewis: l Am Work. A N ew castle man b o rn a n d b re d , O’Donoghue, probably more than any single factor, has given recognition to the locality of the HVTC. His first play, A Happy and Holy Occasion, about a child’s confirmation party in Mayfield, drew strong responses from its audience to the deeply local context and its insight into the Celtic mysteries behind a suburban occasion. His new play has an even stronger symbolic drive, for it has created out of the Father of the Newcastle Steelworks a personification of BHP and the esteem in which it is held. The stocky Celtic actor, Vic Rooney, who plays Lewis from childhood to death in this semi documentary work, admirably crystallises the power, and overriding work ethic. 28

Terry Crawford. Vic Rooney and David Wood in HVTC’s I Am Work.

through which come glimpses of an apocalyptic vision stunted early — a great journey made to no purpose. O’Donoghue’s portrait of big business is not of evil, or sophistication, but of drudgery and insensitivity. Dominating the stage is a vast steel horse, on which is seated Lewis’ father (John Doyle), a tough taskmaster and expert horseman. The play outlines Essington’s attempts to come to terms with his parent’s fundamentalist rectitude and to climb to his place in the symbolic saddle. Essington Lewis died in 1961 at the age of 80, as the result of a fall from a horse on his property at Tallarook. The fall in O’Donoghue’s play is one from both power and, in the eyes of those who depended upon him, from grace. David Wood as Taffy Williams, a worker who loses a leg, an arm and an eye

THEATRE AUSTRALIA NOVEMBER 1981

in the service of two wars and the steelworks, and who acts as Lewis’ confidant and the voice of Newcastle, gives a most engaging virtuoso performance. The company are passable singers also and make of Alan McFadden’s songs and adaptions a stirring rally to the soul of Newcastle. I Am Work is not yet a finished script and the second half crams in too many facts about the Depression, and too little about the conflict between the public and private self which compels us in the aging tycoon. It is a materialist Oedipal figure that O’Donoghue has imagined. If with work he can capture .that prosaic soul — and he has so far gone a long way — the result could be Australia’s first heirarchical tragedy, one in which the fate of the Master is synonymous with that of his people.

La Boite’s best and T N ’s structural trouble NO ROOM FOR DREAM ERS THE D A D D A by Veronica Kelly N o R oom For Dreamers by George H utchinson. La Boite Theatre, Brisbane Qld. Opened September 18, 1981. Director, Bruce Parr; Designer, Stephen Billett; Stage M anager, D elia O ’Hara. Cast; O ’Kerr, W illiam Haseler; Chidley, Allan H ough; with N at Trimarchi, Warren M eacham , Gail Rant, A nna M cC rossin, Kym Lynch, Narelle H ooper.

(Pro/ Am) The D adda by Eric Fitzjohn. TN Theatre, Edward Street Theatre, Brisbane Qld. Opened September 16, 1981. D irector, Bryan N ason ; D esigner, D a v id Bell; Lighting, Paul Haseler; Stage M anager, Carmel M ungavin.

Cast: Bella, Kaye Stevenson; Charlie, Harry Scott; M umma. Kathryn Porrill.

( Professional)

The Confessions of William Chidley record the early life, mental torment and autodidactic musings of a troubled man dogged by poverty and sexual guilt; an amazing social document of life among the urban poorat theend of last century. From his own sufferings and those of his lovers, family and acquaintances, Chidly evolved The Answer; that modern woes are due to humanity’s turning away from "natural" vegetarian diet, nudity and "natural coition". His prophet-like advocacy of this last formulation projected Chidley’s tribulations into the public arena. The outraged guardians of public morality ensured his frequent jailing on harrassing charges and his confinement in Callan Park where, in an act of savage self punishment, he eventually took his life in 1916. Could it happen now Dreamers asks its audience — can harmless eccentrics with alternative lifestyles be so savagely hounded today? Ask them at Cedar Bay. Chidley can seem a remote case now, when we are more aware of the necessity of fresh, unadultered food and of dressing lightly for the climate. It’s just the sex bit that remains indigestible. Yet it is arguable that the signs of rapid physical deterior ation which Chidley detected in his con temporaries, which he came to attribute to the "shocks of [unnatural] coition", derived simply from wretched food, over

work, drink, poor health and frequent births and miscarriages; not to mention the traumas of that sexual part-ignorance from which perspective Chidley perforce formulated his own theories. The gentle prophet did in fact notice and attempt to deal with a cogent fact: that in this primary-producing eden the majority of working Australians have, for most of our history, suffered an unbalanced, in adequate diet, appalling lack of health care, and restricted access to basic sexual education. None of these, demonstrably, arc the patterns merely of the picturesque past, but of the present and looming futu re. Having seen only the initial ANPC reading of the play before, 1 dreaded the callous guying of a loveable Aussie ratbag, but Parr and his cast give Chidley due respect. The direction explores the vulner abilities, absurdities and heroic obsession of the main character. The casting of Allan Hough in the role ensures a central performance of great resilience and sensit ivity, and the focus on Chidley’s situation and contradictions is further orchestrated by William Haseler’s robustly ironic presenter. A beautifully tuned and judged production; crisp and comic, excellently cast and performed throughout, and up to La Boite’s best standards. And those are high. Eric Fitzjohn’s short piece The Dadda is TN’s Warana play, winner of what is advertised as their first Annual Play wright’s Competition, and as such a needed outlet for new local scripts. Essentially a two-hander, it shows the invasion of the suburban home of a middle-aged, housebound woman and her bedridden mother by a predatory-seeming young man declaring himself a window cleaner. What he is looking for, it emerges, is love and a home of his own, and as his needs are revealed his peppy and sexy menace turns to vulnerability. The woman, for her part, grows in strength under his sensual advances, altering from a lovestarred recluse to a warm and beautiful woman, and thence to a position of power which enables her to make the demands he cannot meet. For she too has her need for the return of Dadda — and the two drives cannot reach compromise. Though the ending is left ambiguous, it is clear that the man, as exile or as prisoner, is the ultimate loser. Two e x c itin g p e r f o r m a n c e and sympathetic direction make this fairly engrossing, yet cannot entirely iron out

some of the structural trouble areas of the script, principally the judgement of the lengths of time devoted to developing the various phases of the relationship. The exposition tends to mark time once the situation is established, delaying the first rhythmic variation in the plot. The initial randy window cleaner and dried up spinster stereotypes are a bit Benny Hill and outstay their welcome. This is however adjustable. In Fitzjohn there is a theatre writer who can script a fair piece on identity, role, psychology and power in the Ionesco and Pinter tradition of heightened realism. More is awaited.

Trium phant fusion AS YOU LIKE IT by Jeremy Ridgman A s You Like It by Shakespeare. Queensland Theatre Com pany. Albert Bark. Brisbane. Opened September 25. 1981. Director, John Tasker; Designer, Jam es R idew ood; Stage M anager, Ellen Kennedy. C ast: Jam es P orter, R obert van M ack elen b erg , D uncan W ass, R eginald C am eron, Patrick R eed, Eugene Gilfedder, Carol Burns, Elaine M angan, Stephen Haddan, Peter Kingston, Gaynor W ensley, R on Graham, D avid C lendinning, Andrew D alton , Peter Merrill, D ale M urison, Leo W ockner, Jenny Seedsm an, Ian Bielenberg, Brett Fielding, Kevin H id e s, S tep h en P resto n , L ach lan Y o u n g en b erg , M ichael W ilson, Tim othy Beel.

( Professional)

John Tasker’s production of As You Like h is a triumphant fusion of pageant and pastoral that confirms his stature as one of the magicians of the Australian stage. With Carol Burns and Robert van Mackelen berg heading an energetic cast, he has boldly met the challenge of open-air Shakespeare, which is fast becoming a regular feature of the QTC’s contribution to the Warana Festival. Under three mighty camphor laurels amid the gently rolling slopes of Albert Park, James Ridewood’s unobtrusive set levels the playing area into a gracefully sweeping ramp, gilded only with blazing pennants for the early court scenes and, for the eventual transformation and wedding, towering corn dolls which empahsise, in its final celebratory moments, the pagan subcurrents in this, Shakespeare’s most romantically affirmative comedy. In between, the park itself becomes the forest of Arden; the stage stands before a glade, dappled with light, on whose distant swards sheep graze, courtiers hunt and lovers dream. From the first thunderous muster of the mounted court to the final

THEATRE AUSTRALIA NOVEMBER 1981

spirited departure of the cast as they run across the clearing and out of view, this is a production totally at home in its setting. If it has something of the nineteenth century spectacular about it, it is never theless a production that does not swamp its central performances. Admittedly, one or two peripheral actors are uncomfort able with the distance they have to project an already hesitant command of the language, and a lacklustre rendering of the mock pastoral courtship of Silvius and Phebe creates a tiresome hiatus in the otherwise buoyant rhythm. There is also perhaps a lack of focus in the depiction of the antithetical Touchstone and Jaques, but generally the core of the cast come across with nuanced clarity. Van Mackelenberg gives a stylishly lusty Orlando and his ambivalent courtship of the doubly counterfeiting Ganymede is an intelligent investigation of the scenes' emotional ironies. Carol Burns’ Rosalind is superlative, uncompromisingly re sourceful yet complex in motive and spirit, confirming her as one of Shakespeare’s most genuinely appealing heroines. Warana itself comes away with some thing of a black mark however. A few years ago this spring festival, with its bonza image of "fun in the sun", absorbed the Queensland Festival of the Arts, and only this month has taken over the running of next year’s Commonwealth Games cultural festival. One hopes then for more nous in the planning of the programme than was displayed on the first night of As You Like It, which for twenty minutes had to contend with the earsplitting explosions of a nearby firework display. John Tasker may have cursed the wind which, in the only technical aberration of the evening, capriciously blew a smoke effect out over the audience, but he has it to thank that Orlando did not have to declare his love for Rosalind to the strains of the Fiji Police Band playing a quarter of a mile away.

Ideals bearing fruit FOREPLAY & AFTERGLOW by Joanna Dowse Foreplay and Afterglow.

Illusion Circus Theatre C om pany, John Carroll Theatre, D evonport, Tas. Opened Septem ber 19. 1981. The Mutant by Sandy McCutcheon; D irector. Arwen McCutcheon; Stage M anager. Sheri Stone.

Colin Best, Damien Morgan. Sandy McCutcheon in Illusion's Store At Room Temperature Cast: Peter Sennett, I. y nette Monk, Arwen McCutcheon, Linda Prophet.

Store At Room Temperature by Susan Trotter; Director. Michael Matou.

Cast: Sandy McCutcheon, Colin Best, Damien Morgan. Foreplay and Afterglow by Sandy McCutcheon; D irector. Sandy McCutcheon. Cast: Michael Matou, Helen llaigh .

(Professional)

Theatrical and financial seeds sown about a decade ago by the Tasmanian Arts Advisory Board and the Tasmanian Arts Council are beginning to germinate in public awareness of live theatre and bear fruit in the form of several new companies, a few of which are prepared to tour the State even to country areas. Foremost of these, the Illusion Circus Theatre Com pany is not even based in the capital but has its home at the John Carroll Theatre, Devonport. From the initial shock rendered on local conservative theatre goers by their pro duction of New Blood, they have, through several years and many plays, wooed and finally won statewide, the support they deserve — mainly for alternative theatre. Illusion's latest production. Foreplay and Afterglow now playing at the John Carroll Theatre and shortly to tour the State, consists of three loosely connected plays, presented "in the round", varying in structure, form and theme. The Mutant — by Sandy McCutcheon, Store At Room Temperature by Susana Trotter a Mel bourne playwright, and Foreplay and Afterglow also by Sandy, from which the whole production takes its title. The Mutant — a futuristic science fiction fantasy, directed and imaginatively

THEATRE AUSTRALIA NOVEMBER 1981

choreographed by Arwen McCutcheon, enhanced by the original score played by composer Dale Nougher — explores the idea of an ordinary Australian male, captured by a totally female alien race on the verge of extinction, solely for the purpose of the reproduction of their race through mutation. A compact little play, which almost "makes it"; the role of actor/director is one in which even Lord Olivier has not always achieved success. Store At Room Temperature is a first encounter for local audiences with Theatre of the Absurd. Patrons with weak stomachs or heavily into the Freedom From Hunger Campaign may find it a bit difficult to take; for Weight Watchers it will prove a "tour-de-force", but if one just sits back and lets it all splash over one — the performances of Sandy McCutcheon, Colin Best and Damien Morgan are adroit and skillfully directed under the direction of Michael Matou. Finally, Foreplay and Afterglow is a sensitive prose/poetry word play, beauti fully acted by Helen Haigh and Michael Matou, which held the audience spell bound — slight adjustments to the script should produce sheer perfection. McCutcheon’s plays are now developing a sounder style and structure, lighting techniques acquired from Barbara Williams are evident and the investment of mime artist, Michael Matou with this production is also noticeable, particularly in Damien Morgan's work, and the ideals on which this Company was formed are beginning to bear fruit.

review

w rw i Masterly, exciting, daring THE REVENGER'S TRAGEDY by Michael Morley The Revenger's Tragedy by Cyril Tourneur. State Theatre Co mpany. Playhouse. Adelaide SA. Opened September 1981. Director. Riehard Cottrell; Set Design. Richard Roberts; C ostume Design. Sue Russell; Lighting. Nigel Levings: Music, .lint Cotter; Stage Manager. Lerry Martin. Cast: l\ar Kants, Philip Quasi, Jennifer West. Deborah Kennedy, Dennis Olsen, Henry Salter, Daphne (ires, Robert Men/ies, Trevor Kent. Geoffrey Rush, Simon Burke, John Turnbull, Kevin Miles, Stuart MeCreery, Jim Holt, Keith Spurr, John Saunders, Marilyn Allen. Heather Mitchell, Wendy Strehlon, Geoffrey Carey, John Keneally, Philip Rehn, James Schwarz.

(I’ro/cwioiwt) George Lyttleton once observed: "Where none admire, 'tis useless to excel." and there really are times when one despairs of Adelaide audiences. Over the past eight weeks, this borough, which prides itself on its cultural awareness, has managed to close its Philistine eyes and ears even more tightly to productions which other cities in Australia and elsewhere would welcome — have welcomed — with open arms. First Nehentiah PersoJJ. then The Venetian Twins and now The Revenger's Tragedy have attracted houses which would look small even in the front room of the local pub. No doubt the good burghers know what they like, and will Hock forth to the approach ing Festival — and good on them. But great productions of opera, theatre or ballet are rare enough at the best of times: and when one sees a production like Richard Cottrell's of Revenger's Tragedy. one wants to grab people by the lapels and hector, cajole or even beg them to see it. It is masterly in its conception, exciting in its range and sweep, daring in its execution and utterly compelling from beginning to end. And though I am sure the director would not wish it so, it will provide a yardstick against which to measure any approach to Jacobean or Shakespearean drama over the next years. Perhaps the single most notable feature of the production is its clarity: clarity of diction, of characterisation, of plot deli neation. The convolutions of the story line in Revenger's Tragedy at times resemble nothing so much as a latter-day version of The Restless Years, scripted by a committee of manic obsessives, none of whom have any idea of what the others are doing. Even with time on one’s hands and the

salute actors whose performances would have looked impressive on any stage. Foremost, of course, was Ivar Kants’ Vindice. a huge role, varying from tense melancholia and vindictiveness to savage explosions of action, and all held together by a remarkable physical and vocal energy. Kants grabbed the audience from the opening monologue, playing with them much as he played with his beloved's skull, and succeeding in convincing at least this viewer that the role is one of the great c h a r a c t e r i s a t i o n s of E l i z a b e t h a n / Jacobean drama. His Vindice was not a stereotyped melancholic, a deranged re Ivor Kants in STC. S A ’s venger but a Hamlet for whom the time for Revenger's Tragedy. Photo: David Wilson. reflection is long past. Yet his acts ot vengeance can only partly assuage his opportunity to turn back the pages and torment. Like Tolstoy's madman, he might find out who was doing what to whom and well declare: "1 am always with myself, and why, and how they’re actually related to it is 1 who am my own tormentor." each other, one often feels like a dyslexic Yet all the characters are subject to trying to grasp the complexities of Heintorment in some form or other, and it was senberg’s uncertainty principle. Not a trace the way the various performers found of this confusion in Cottrell's sure grasp of varying methods of presenting this that the action. From the opening tableau, with was so impressive. Robert Men/ies' LusVendice spotlit O.P. and introducing us to surioso was all menace and partly con the ducal family as they process to the altar trolled edginess; Geoffrey Rush's bastard font to bless themselves, everything is clear all posturing and distorted swagger; Simon and immediate. Burke's younger son a rampant punk with This production is full of such happy a taste for anything in skirts. Any one ot touches — like the use of white mask these performances — not to mention make-up, with slashes of red or blue, to Daphne Grey’s superbly venomous and distinguish the members of the court. And sensual Duchess, Deborah Kennedy's con Cottrell's handling of the Jacobean con vincing Castiza Denis Olsen’s lusting yet ventions of masquerade and eaves limp Duke, or the marvellous comic turn dropping is so sure as to make one sceptical provided b\ John Turnbull's and Trevor of the likelihood of ever seeing the problem Kent's pair of brothers — would have better resolved. Vindice becomes Piato made the production one to remember. through a simple change of costume, the Taken together, it demonstrated just how adoption of the make-up and a slight essential good casting is to a play where alteration in voice. The exchanges with the everv character has something to con audience never become the exercises in tribute to the picture of a world just as self-consciousness or empty rhetoric they bizarrelv corrupt and comical as that so frequently are, but, in Cottrell’s hands, presented in Joe Orton's farces. an extension of Tourneur’s almost PiranNo space to devote to Richard Roberts’ dellian fascination with persona, mask and simple and monumental set — all black identity. pillars, yawning doors and flexible perfor Yet. while there was never any doubt ming area; and Sue Russell’s opulent and that the view of the play is distinctively one stunning costumes in black, silver and gold man’s, this is not a production where — except to sav that the design was the best actors are mere puppets being shifted seen on this stage. And several plusses to hither and thither at the director's whim. Michael Fuller — whose name some Cottrell’s other great achievement is to gremlin removed as co-director of last have brought together a cast, all of whom month’s As You Like It — for his ingenious give fine — in some cases, outstanding — and frightening solution for the problem of performances, and who demonstrate both the mask at the play's end. As for Jim collective and individual strengths. The Cotter's music — it was one of the simplest and fairest summary of per simplest, most atmospheric and appro formances would be to list them all and priate electronic scores I have heard in the dismiss them with a bravo. For although theatre. May he do more of the same there might be some criticisms of in quality. dividual moments, overall one can only THEATRE AUSTRALIA NOVEMBER 1981 31

review n r i r i r i r i r Unravelled Shakespeare MACBETH KING LEAR by Noel Furdon M a c b e th by Shakespeare. Acting Company. Adelaide

SA. Opened September 1981. Director. .Jim Vile; Designer. Luke Cutler; Lighting. Lindsay Monteath; Stage Manager. Geoff Britain. Cast: Datid Adams, Barbara Doherty, Nick Gill, Verity Higgins, Mark Muggeridge, Harry Postema, Sue Rider, Jean Rigby. David Roberts, Barry Solomon, Chris Tugwell.

( Professional) k i n g L e a r by Shakespeare. Stage Company. Adelaide

SA. Opened September 1981. Director. Brian Debnam; Design. Brian Debnam, Bruce McKentry, Casey von Sebille.

Cast: Wayne Bell, Deborah Little, Barbara West, Ellen Freeman, Selvvyn Crockett, Robin Harrison, John Noble, David Hunthouse, Peter Crossley, John Heywood. Alan Lovett, John Francis, Bruce McKendry.

( Professional)

and ugg-boots. Add splashes of blue feathers and fleeces, and you get some idea of the atmosphere of Forres and Inverness. At least the thanes, a mob of moustachioed clones who switch ineptly from one lord to the other, are hampered less than Macbeth and his Lady, who are required to do some of the night scenes looking like Papageno and Papagena after an outbreak of parrot fever. If the designer must be censured for the creation of a wildly inappropriate and individualist set, the director ought to have realised what was happening to his space and his actors. In a potentially exciting traverse space, the rostra are used without notions of scale, locality, or even utility. At one of the few points where a real standing prop is required, i.e. the banquet table, it has to be flown in! The blocking is not calculated for the effective focus of speech and gesture at the audience. And, though the pace of the scenes is swift and fluent, their intelligi bility is hampered by being directed at the side flats. It is virtually impossible, then, to become involved in the characters. In fact, there is no consistent creation of character. Nick Gill, in his "tomorrow and tomorrow", shocks suddenly by the reality and depth of his delivery, just as Sue Rider does in the sleepwalking scene, where the careful set-up of the previous murder of Duncan pays off by reminding the audience of the origin of each of her gestures. But generally, there is not so much acting in this production as the emoting of lines on top of colour-coded boxes. The Stage Company’s King Leaf is an act of some nerve and devotion. Virtually the whole text is given, and it is treated in a scholarly and intelligent way without ever becoming pedantic. The scene establishes itself with great confidence and command. A ritual circling, and then the players take up their positions. The Space is played to on all its sides and levels. A few things jar. What’s all that hay doing lying under the staircase? Must be rural. If it’s rural, why are the stairs and seats made of that particularly cultural-institution steel? Texture’s wrong. Costumes are funny, too. What are they all doing in khaki and puttees and horse-rugs? No. Costumes look good and real as the actors group, split, disappear to the four corners and leave the scene. Accents are funny. France and Burgundy, especially, can’t manage the tone, sound as if they’re about to bear Cordelia off to the Sturt CAE. And the Fool speaks Laugh-In American.

In its well-orchestrated publicity for Macbeth, the Acting Company has been using terms such as "rugged", "vigorous" and "Gutsy" to define its style. As a company which has built its reputation on hard, solid work in schools, on "no-fuss style of production", its aim has been overwhelmingly to provide a clear text with immediate application. In this light, Macbeth must be regarded as nothing less than a disaster for both company and audience. Having chosen a play which, of the entire Shakespeare canon, is the one that traditionally jinxes actors, deranges direc tors and has school children rolling Jaffas down the aisles, the Company has pro ceeded to colour it in with a set of visual and vocal crayons that would leave even Peter O’Toole with a moist seat. The set, a paint-pot construction of self-consciously artistic yellow and red swipes in the late KMart style, is so loud that the actors apparently feel obliged to address their lines to it in the vain hope that it will stop screaming. The monster is, moreover, cunningly rambled over several levels so that when a character has a particularly boring old soliloquy to deliver, he or she can limp up and down as if en route to the Ministry of Silly Walks. The costumes, too, amaze the sight, unfix the hair, and make the seated heart knock at the ribs. Scotland is revealed as a wild society which evidently spends its energies in the cultivation of tie-dye pants 32 THEATRE AUSTRALIA NOVEMBER 1981

Slowly, a social impression begins to form, an imaginary landscape is created. Where are we, with these wounded sol diers, these socially easy men and cool clipped ladies, if not in Australia? An authentic vision starts to illuminate the stage. Mad explorers, cheeky kids, base football players (the line has never worked so well!) begin to materialise out of the text. Time after time, line after line hits gold and rings true. Behind Regan and Goneril, weirder sisters than any Shake speare created in Macbeth, the full spite of the Australian bourgeoisie starts to raise its shampooed head. Cornwall has ob viously lunched at Government House, and the contrast with the mob of poor berserk anzacs, wandering around the Space in their army blankets, couldn’t be more effective. And then, with the first great lines of the storm scene, the whole thing begins to unravel like an almost knitted text. Some one is going berserk on the gong. The red gels on the lamps are doing overtime. Lear and the Fool twitch in sympathetic punctuation. What can be heard of their lines through this racket gives the im pression not so much that they have been caught in a tempest as that they have wandered into a disco. Debbie Little has a hard time of it watching Lear like a malevolent little frog, and Wayne Bell, despite a few glazed stares, never seems more than pleasantly dotty. What should be an astonishing and frightening invasion of private madness into a public theatre becomes dangerously close to Dad and Dave. The social criticism, the pity, the grotesquerie are lost in a welter of laugh lines. The audience feels secure again, at pre cisely the point where it should feel most discomforted. Brian Debnam quotes Kozintsev throughout his programme notes, and it is obvious that he has been influenced by the latter’s book. The Space o f Tragedy. If he has also, as I take it, seen Kozintsev’s brilliant film with Yuri Yarvet as Lear, he must have been deeply moved by the combination of the personal and the political in the suffering body of the peasant "king". The fact that the Stage Company doesn’t achieve anything like this is a reflection of many things, one of which is the nature of actor training, and the idea of the relation between "actor" and "real person" in our own society. At least the Stage Company has attempted to push a little further the boundaries of speaking what we feel, not what we ought to say.

Convincing and unconvincing style THE TRUCE THE LONDON CUCKOLDS by Garrie Hutchinson

The London Cuckolds by Edward Ravenscroft. Melbourne Theatre Company, Athenaeum Theatre, Vic, Opened August 26 1981. Director. Simo n Chilvers; Designer, Allan Lees; Lighting, Jamie Lewis. Cast: David Ravenswood, Sydney Conabere, Douglas Hedge, Marie Redshaw, Sally Cahill, Chris Orchard, Edwin Ho dgeman, Michael Edgar, Anne Scott Pendlebury, Babs McMillan, Tim Hughes, Sally McKenzie, Irene Inescourt, Douglas Hedge, Peter Cahill.

(Professional) The Truce by Sandy McCutcheon. Melbourne Theatre Company. Russell Street Theatre, Vic. Opened September 30 1981. Director, Ray Lawler; Designer, .John Cervenka; Lighting, Jamie Lewis. Cast: Gabrielle Hartley, Rona McLeod, Kristopher Steele.

(Professional)

Two things deserve mention about the first productions of Edward Ravenscroft’s The London Cuckolds. One is that it was first produced in 1681, 20 years after the

Restoration, and thus only 20 years after the introduction of actresses to the London stage. It was pretty clearly Ravenscroft’s intention to cobble together the relatively new freedom of audiences to ogle and admire beautiful breasts and flowing tresses with every trick in the farceur’s book; disguises, deceptions, substitutions, chamber pots, dopey policemen, rakes and bumpkins, and make it about a none too popular, pompous section of the popula tion — for the titillation and entertainment of all and sundry. That he succeeded is evidenced in Cuckolds' adoption as a regular folk event until cut off by prudes like David Garrick and George II. In performance nowadays, of course, both the sense of rudeness, of sticking your tongue out at the Lord Mayor (if we had one in Melbourne) and the appreciation of

bawdy and unbuttoned actresses has diminished. Sex in the theatre has come a long way down the road since Ravenscroft’s day. Nowadays in New York theatres like Belle de Jour and The Project offer the real thing. On the other hand there’s no place, least of all in the theatre (save the immortal Barry Humphries) where contemporary equivalents of the London Cuckolds, our aldermen, councillors, mayors and city administrators, get their ex officio pies in the face. Not that anyone could argue that a company such as the MTC could or should do anything like that. They, after all, are to some extent indebted to the Melbourne City Council. But in a farce like The London Cuckolds certain opportunities for localising, modernising do occur. It isn’t, after all, a great work of your actual theatrical Art. It's a farce, an entertain ment, something to make you laugh in public, an opportunity for bravura per formances from the actors. And aside from missing the chance to drop in ad libs, to mock dignitaries, rewrite little bits here and there, Simon Chilvers’ production does the play sufficient justice. He’s seemingly silently chopped some of the more boring scenes, and got the thing down to a more modern V/i hours or so, our appetites for getting our money’s worth having declined since Ravenscroft’s time. There is perhaps a slight lack of pace, mainly because of the time taken to change Allan Lees’ ingenious and atmospheric, but time-consuming, setting. But the actors have a terrific time, and that communicates with us. They enjoy playing a kind of theatrical Number 96 with a cloak of respectability flung across it by virtue of its age. I especially appreciated the stylish rusticity of Edwin Hodgeman as the mightily frustrated Mr Ramble and the laviscious charms of Marie Redshaw as Arabella and Babs McMillan as Eugenia. In Sandy McCutcheon’s play The Truce, we have old fashioned style of a different sort. Not the life and wit of the Restoration, but the dread hand of the well-made play. Not that The Truce has the seamless characterisation and narrative of the best of the well-made genre, but it has aspirations. Here we have what is called "warm human understanding", that is the idea that optimism, hope and individual

acts of generous humanity, selflessness can flourish in the worst conditions. And that there are happy endings.

The Truce puts a young Jewish woman in a collar with an aristocratic Catholic woman in the aftermath of the Warsaw Uprising, October 1944. The Nazis are doing a house to house, burning and blowing up what remains of the city. Will they come to terms with each other and survive, or fight each other and die? The women are sketched as representative of the worst attitudes of their class to make their ultimate coming together all the more piquant. We watch them suspicious and nasty at first then working together; celebrating when they find a fortuitously hidden trunk of food, silver plate and clothes; afraid when a Nazi finds the cellar; then triumphant when he turns out to be an ordinary human being who doesn’t want to kill them and indeed arranges for their escape from Warsaw. All of this really does require writing of a high order if we are to empathise with the situation of the women — suspend our disbelief, as they say. Unhappily it doesn’t really get it. Too often the play lurches from clumsily giving us real, historical information to moony sentiment dreams, with Warsaw street names dropped in, and set speeches about motives and intentions. I found that the writing wasn’t con vincing enough to allow these two characters to live as exceptions in Warsaw in that terrible year. Even the programme lists the horrific detail of what really happened, and whilst it’s true that 40% or so of the population managed to survive, it’s hard not to think it was more difficult than spending a couple of nights in a cellar to be lead to safety by a boy soldier, the good Nazi. Even if funny things happen in war, it's hard to believe. And if you don’t believe, you don’t enjoy. Gabrielle Hartley and Rona McLeod play the women with all stops out as they have to do, and designer John Cervenka uses a lot of bricks. Which reminded me of the agonising scenes in Martin Sherman’s Bent, in the same theatre last year, shifting rocks from one place to another for no reason at all, save the characters were in a concentration camp. There was no truce there, but there was still humanity.

THEATRE AUSTRALIA NOVEMBER 1981

review

Mai S h a m m y a n d Y ahm an Tuzect in

M 7 ;'.Y 7 " s

Reflecting the eighties HUNGER BEDBUG CELEBRATION XENOPHOBIA by Suzanne Spunner B e d b u g C e le b r a tio n by John Biay. From Theatre. The

I’ram Factory. Melbourne. Vic. Opened Sept 4 19X1. Director. Richard Murphet; Designer. D ave Mayes; Music and Sound. Red Symons; Stage Manager. Flarry Starling.

Cast: Prisypkin Seripkin Stinko. W illiam Zappa; Youth 1 Bard Promoter Zoo Director Announcer 1 President. Ross Williams; Woman I Girl I Zoya Zoo Keeper Announcer. Julie Williams; W oman 2 Rosalie Nurse Bluebelle Wool!. Diana (¡reentree; Seller Youth 2 Prolessor I erence Woolf, Bill Garner; Fl/evir Girl 2 Rebel Woolf. Regina Ciagalas.

( Professional) A H u n g e r A r ti s t by Wayne Maeauley adapted from

I ran/ Kalka. Downstairs Theatre. Anthill. Melbourne. Vic. Opened Sept 23. 19X1. Director. Martin Christmas; I echnical Assistance. Susie Dee.

Cast: The Hunger Artist. Wayne Maeauley. by Phil Sumner, Jan M c D o n a ld and Trevor Cummings. WES I Community Theatre.

X e n o p h o b ia

Moonee Ponds, performed at various venues around suburban Melbourne throughout August-September

19X1. Director. Jan McDo na ld; Musical Director. Richard Zatorski; Choreographer. Zandie Acton; Stage M ana ger. Robin Anson.

Xenophobia. Cast: Rosie. Marl Shamrav; Ferret. Phil Sumner; Hussein. Yantan Tu/cet; l.ae. Amand a Ma; Rocco. Robert Clanville; Kid. Kim Harrington; Kid. Arthur I urner; Rossetti. Ian Shrives. (Professional)

Bedbug Celebration, A Hunger Artist and Xenophobia are all new Australian plays and considered together they indicate a direction in the eighties that is internation alist and multicultural compared to the insular celebrations of nationalism that characterised the seventies. However the sources for these three productions could not be more different; Bedbug Celebration is John Bias's re working of Mayakovsky’s 1928 play. The Bedbug; A Hunger Artist was adapted by Wayne Maeauley from Kafka's 1924 short story, A Fasting Snowman; while Xeno phobia was written from research under taken on behalf ot WES I Community theatre at Debney Park Housing Com mission estate. Similarly the venues for these productions reflect the changes ol the eighties; Bet/hug Celebration was billed ,iv the last production at the Pram Factory; A Hunger Artist was staged at Anthill, a venue that only opened this year and is already under considerable threat; and Xenophobia was performed at various community centres and schools in the Western and inner suburbs of Melbourne in a sort of theatre outreach programme that once would have done the Pram Factory proud.

THEATRE AUSTRALIA NOVEMBER 1981

Richard Murphet’s production of Bed bug Celebration was an ambitious and exciting multi-media event with such a plethora of visual and aural imagery that it felt, at times like an extended Countdow n clip. I n the cut-down confines of the Front Theatre and utilising a proscenium arch stage separated into two defined areas by a gauze screen, it suggested a vast video projection and placed the audience at a remove as if in their own living room. The inventive trompe l’oeil delineation of the stage resolved the problem of separating the three distinct timezones of the play and aligned the audience with the forestage characters of the year 2029. We saw the events of 1929 and 1979, as they did through the medium of the screen but at the same time we were alienated from all three visions of society particularly as the one nearest to our epoch was filtered by the intervention of the futuristic robotic Woolf family. In this way the production enacted the illusion of intimacy that television and film create and reinforced our detachment from the action. The three epochs were pre sented to us as if under a gigantic microscope and we were able to examine them in a laboratory of human social behaviour with the objectivity of a scien tist. The Everyman of this socialist pil grimage was the character of Prisypkin Stinko of that resilient species bourgeoisus vulgaris; a man of his time, cI929, who invariably through the miracles of science managed to be perpetually resurrected, and thus became a man for all times. While you arc hardly expected to identify with him, much less feel sympathy, he does serve as a sort of yahoo yardstick by which one measures the social advances of each epoch. What ultimately becomes interesting is his propensity for reincarnation and his ability to survive each shock of the new. 1n each of his three manifestations, his native opportunism is exploited by two charac ters who represent disinterested science on the one hand and interested en trepreneur-ship on the other and it is this tripartite relationship which Blay illumi nates most clearly. Throughout the play the actors worked as a tight ensemble to create three distinct verbal and physical languages and a multiplicity of roles, but among these William Zappa as Stinko Prisypkin. Ross Williams as the commercial political en trepreneur. Bill Garner as the man of science and Regina Giagalas as the rene-

v w

gade daughter of the future, stand out. But had it not been for the design, music and general pyrotechnics of Dave Mayes and Red Symons and the conceptual wizardry of Richard Murphet, the play would have remained merely an interesting treatise. A Hunger A nisi was first performed last year at La Mama, but this production at Anthill has seen a considerable refinement of direction by Martin Christmas and even tighter performance by its writer adaptor, Wayne Macauley. Already a play rich in metaphor and resonance, A Hunger Artist, by the dubious virtue of events in Northern Ireland over the last year, has now acquired an additional layer of policital relevance. The premise of the piece is the spectacle of man who fasts for a living before a public greedy for the sensation of suffer ing. He perceives himself as an artist of hunger and his performance functions as an unambiguous metaphor tor the role of the artist in society. His act is pre eminently theatrical and in this version the performance is taken to stunning theatrical lengths; one scene even recalls Deitrich in The Blue Angel. The move into extreme stylisation has charged and informed the poetics of the writing immeasurably. The combination of Christmas’ design direc tion and Macauley’s crystalline writing and finely honed performance has pro duced an intense and compact piece in a mere fifty minutes. Both the play and the performer deserve a wider audience. Xenophobia is a piece more satisfying in the intention than the execution. It re vealed the possibilities of a subject hitherto unexplored in Australian theatre at the same time as it showed the limitations of the form in which it was cast. It explored the pressures of multiculturalism against the harsh realities of high-rise living in the inner suburbs in the form of a rock musical, and in so doing fulfilled the primary function of community theatre by reaching new audiences with new subject matter. However its failure lay in its paucity of theatrical invention and the ultimate thin ness and bland ness of its approach w hich, though it may have satisfied its audience and salved the liberal conscience that the subject was being dealt with at last, it ultimately sold both short. My concern is that both are too important and too hungry to be satisfied this easily. Julie Williams in the Pram /-'acton a Bedbug Celebration. Photo: Ruth Macli/ison.

THEATRE AUSTRALIA NOVEMBER 1981

• • •• •••• •• •

•• • • •

Scripts as the bottom line SUMMER OF THE SEVENTEENTH DOLL SISTERLY FEELINGS STATE OF SIEGE by Cliff Gillam

Summer o f the Seventeenth Doll by Rav Law ler. Hole in the Wall. Perth WA. Opened September 10 1981. Director. Edgar Metcalfe; Designer. William Dowd; Stage Manager, Helen Godecke. Cast: Bubba, Ailsa Piper; Pearl, Faith Clayton; Olive, Helen Tripp; Emma, Nita Pannell; Barney. Maurie Ogden; R oo, Phil Wilbraham; Johnnie, Andy King.

(Professional) Sisterly Feelingsby Alan Ayckbourn. National Theatre Company, Playhouse. Perth WA. Opened September 22 1981. Director, Edgar Metcalfe; Designer. Steve Nolan; Lighting, Duncan Ord; Stage Managers. George Tsousis, Richard Hartley. Cast: Raymond Duparc, James Beattie, Margaret Ford, Denise Kirby, Bernie Davis, Paul English, Liz Horne, James Bean, Glenn Swift, Caroline McKenzie, Gerald Hitchcock, Jas Cartwright.

(Professional) State o f Siege by Albert Camus. WA Theatre Company. WAIT. Perth. Opened September 1981. Director, Phil Thomson. With: John Thomson, Lynn Howard, Mark Minchinton.

(Pro/Am)

Ray Lawler’s Sum m er o f the Seventeenth Doll has for a good many years now had undisputed status as a classic of Australian drama. Accordingly, each production of the piece must be undertaken with this fact in mind. The realistic style of the play, and the likelihood that a good proportion of the audience will have seen it before and will expect to see again something known and loved, means that a director of the play has severe limitations of general inter pretation placed upon him, while at the same time he must give meticulous attention to the rhythm, timing and nuance of each performance in order that his production might be favourably compared with those of the past. It is precisely in such meticulousness of attention that Edgar Metcalfe has always excelled as a director, and it is not therefore so surprising that he has made such a success of this production. Its success was laid on a firm foundation of excellent casting and design. Bill Dowd’s design for 36

M ft Faith Clarion (Pearl) in the Hole's Summer of the Seventeenth Doll.

THEATRE AUSTRALIA NOVEMBER 1981

ir w

Olive’s living-room was superb in its sense of (only-recently-vanished) period, the epitome of early fifties inner-suburban Australian style (or rather, lack of). The cast featured some of the most experienced and skilled actors and actresses in Perth, and the standard of performance was excitingly high. Helen Tripp’s Olive combined generosity and warmth with vulnerability. Her careful observation of the role was complemented by her controlled execution of it. Nita Pannell’s performance was Emma can only be described as superb — in a cast less uniformly strong it would have stolen the show, but as it was, with Faith Clayton’s acerbic Pearl, Phil Wilbraham’s troubled Roo and Maurie Ogden’s feckless Barney to surround and complement it, it became a minor highlight amidst such shining. Metcalfe’s careful attention to the pace and rhythm of the play gave a crispness of focus to its key moments, doing full justice to the intrinsic strength of the script. The extension of the production season by public demand is proof enough of the quality of The Hole’s Doll. That good scripts are the bottom line for good theatre is an axiom neatly proven by the running at the same time in Perth of another Edgar Metcalfe production featur ing a generally strong cast which has had nothing like the acclaim given The Doll. The problem with the Playhouse pro duction of Alan Ayckbourn’s Sisterly Feelings lies, I’d suggest, almost entirely with the script. It seems as though fascination with the gimmicks of alternate narrative lines, and the inclusion of a chance element in the choice of which of the two main narrative lines will be performed on any given night of the season has blinded Ayckbourn to the essential paucity of the narratives themselves. His facility for neat one-liners, and a keen sense of social stereotypes is not enough to sustain an audience’s interest in either or both of Sisterly Feelings’ narrative lines, "Abigail under Canvas" or "Dorcas at the Races", for the whole of a full length production. In such circum stances one was left with the interest generated by the set, a mammoth construc tion, representing a hillside in the country and designed with an eye to a kind of realism rarely encountered in such sets these days by Steve Nolan, and by the stalwart efforts of the cast to bring some life to an essentially empty exercise. All deserved credit for effort, and some, notably Raymond Duparc (as a mildly eccentric GP and father of the two sisters)

Caroline McKenzie (as Dorcas) and James Beattie (as a comical retired cop) managed a little extra sparkle. All things considered however, it was a shame to see so much talent and energy wasted on such trite and boring material. It could not be said of Camus’ State of Siege, at WAIT’s Hayman Theatre, that it was trite, since the subject matter of the play, totalitarian tyranny and suppression of human rights and the human spirit, is one with a continuing, and perhaps even an increasing relevance to our everyday life. But it has to be said that the first half of the production at least allowed for boredom. Again, the problem was partially with the script itself. Camus’s epic parable, employing the metaphor of the plague and its effects on a populace for its antitotalitarian message, lacks the enlivening sense of the idiosyncrasies of individual character, and most of all the humour which distinguishes Brecht’s efforts in the idiom. This turgidity in the script was somewhat relieved in the second half by the inclusion of a number of powerful dialogues delineating the nature of totali tarian thought and practice, but even these were imbued with a sense of sombre seriousness which become oppressive by night’s end. Phil Thompson’s directorial debut for WAIT, State o f Siege was a courageous but perhaps overly-ambitious choice of play. The production was long on admirable political sentiment, but a little short on sustained dramatic power.

Dazzled and delighted MASKED by Christine McCormick

James Beattie, Paul English, Glen Swift, Caroline McKenzie. Gerald Hitchcock and James Bean in the National’s Sisterly Feelings.

M a s k e d by Cathryn Robinson and the company. The

Spare Parts Puppet Arts Theatre. Opened September 10. 1981. Princess May Theatre. Fremantle. WA. Set Design. Stuart Elliot. Cast: Peter Wilson, Ian Tregonning.

(Professional)

The Spare Parts Puppet Arts Theatre recently presented to the general public a show which they have been successfully performing to secondary schools in and around Perth. Masked is a virtual two-man show in which puppet-master Peter Wilson and apprentice puppeteer Ian Tregonning seldom leave the stage. The first half of the show traces, in rapid succession, the history of puppetry from the use of the mask to the development of rod and hand puppets. The classic French clown, Pierrot, is featured in seemingly endless forms and sizes in a presentation which left this "kid" completely dazzled and de lighted. Part two is a fictional account of the events which followed the Dutch Batavia massacre and subsequent trial in which two condemned murderers were cast ashore in Western Australia. Narrated by one of the "survivors", Cathryn Robinson’s dramatic script speculates on what became the first white men to live in Australia. Startling imagery, mime, music, and an eerie set designed by Stuart Elliot along with an alarmingly "real" skeleton, pro vided a chilling contrast to the light hearted first half. Masked is the first in a series of public performances scheduled by this unique and versatile company. Let us hope we will not have long to wait before the next one.

THEATRE AUSTRALIA NOVEMBER 1981

1HEATRE guide VIC AUSTRALIAN NOUVEAU THEATRE (6993253) Anthill: Two plays in the Alot Drowning But Waving programme; director, Nick Tsoutas; Waking Up by Franca Rame and Dario Fo; C an’t Help Dreaming by Jenny Boult; performed by Peggy Wallach. T hroughout Nov. ARENA THEATRE (2401937) U ntil Ya Say Ya Love Me devised and performed by the Magpie TIE Team for senior secondary students. Throughout Nov. In Schools Programme: Accidentally Yours — Lower primary; Get The Point — Upper primary. ARTS COUNCIL OF VICTORIA (5294255) Touring Victorian Country: You’re A Good Man Charlie Brown from the Ensemble Theatre, Sydney. Throughout Nov. BANANA LOUNGE COMEDY ROOM (4192869) A succession of the best of M elbourne’s underground comedy. Late shows Fri and Sat. COMEDY CAFE BYO RESTAURANT (4192869) Carnival Knowledge by Hieronymous Bosch Comedy Ensemble; Peter Moon, Eddie Zandberg, Ian McFayden and Mary Anne Fahey. COMEDY THEATRE (6623233) Chicago, a vaudeville musical based on the play by Maureen Dallas Watkins; director, Richard Wherrett; musical arrangements by John Kander and lyrics by Fred Ebb; with Nancye Hayes, Geraldine Turner, Terrence Donovan, Judi Connelli, George Spartels and J P Webster. Sell-out success production of this Broadway musical about corruption and the media in the thirties. To Nov 14. DRAMA RESOURCE CENTRE (3475649) Touring Victorian Country and Adelaide with: Stronger Than Superman by Roy Kift. This show explodes fallacies and myths concerning the disabled. The Transition Show. From school to the workforce. Also a workshop performance of The .05 Show. Nov 2329. CROSSWINDS COMMUNITY THEATRE (057/623366)

Freewey, A cabaret show about the Hume By-pass. Starts Nov 6. FOURS COMPANY COMMUNITY THEATRE (053/311755) Watch The Step, A transition show for upper primary, by Fours Company. Touring schools in the Central Highlands. HANDSPAN THEATRE (415978) Jandy Malone and the 9 o'clock Tiger at the Ballarat Regional Education Centre, St Paul’s Hall. Nov 14-20. Beastly Com binations at the Myer Music Bowl on Nov 22. HER MAJESTY’S THEATRE (6633211) They’re Playing Our Song by Neil Simon and Marvin Hamlisch; with Jacki Weaver and John Waters. Return of the hugely popular, twohander Simon musical. Throughout Nov. LA MAMA (347 6085) Two short plays: U ncultured Pearls by Judy Raphael and Animate is Everything by Bev Geldard. Nov 4-15. LAST LAUGH THEATRE RESTAURANT (4196225) Fairground Snapz; director, Terry O’Connell; with Mick Conway. Throughout Nov. Upstairs: Shows changing weekly. MELBOURNE THEATRE COMPANY (6544000) Anthenaeum Theatre: Amadeus by Peter Shaffer; director, John Sumner; with Bruce Myles, Frederic Parslow, Sally McKenzie and Gary Down. Shaffer’s latest hit about the genius of Mozart and the jealousy of his rival Salieri. To Nov 28. Russell Street Theatre: The Truce by Sandy McCutcheon; director, Ray Lawler. To Nov 21. Athenaeum 2: Return reason of Beecham by Caryl Brahms and Ned Sherrin; director, Ron Rodger, designer, C hristopher Smith. To Nov 28. Return season of Antigone by Sophocles, director, Roger Oakley. Starts Nov 5. MILL THEATRE COMPANY (052/222318) Sparkling Occasion, M ill’s first fund raiser. Food, fun and festivities. Nov 14. MUSHROOM TROUPE (3767364) Savage Love, ice-age rock; with Alison Richards, Faye Bendrups and Neil Giles. Starts Nov 4 at the Pram Factory.

THEATRE AUSTRALIA NOVEMBER I98l

MURRAY RIVER PERFORMING GROUP (060/217615) They’ll Tell You About Me, A one-man show devised and performed by Robert Perrier at the Wizard. A bloody good look at Australia. To Nov 21. Beggars Banquet, A large gathering on the banks of the Murray River at 2pm on Sun Nov 15. MIXED COMPANY (4191154) The M elbourne Show by Mixed Company. Performed at inner suburban factories throughout Nov. PLAYBOX (634888) Downstairs: The Marionette Theatre of A ustralia’s production of General M acA rthur in Australia by Roger Pulvers; director, Richard Bradshaw; designer, Patrick Cook. "M acArthur the hero, hardly aware that Australians too were at war." To Nov 8. Upstairs: A N ight In The Arms Of Raeleen by Clem Gorman; director, C arrillo Gantner. A strange reunion of mates of twenty years where the truth is revealed. To Nov 15. UNIVERSAL THEATRE (4193411) Squirts a political revue by Barry Oakley, David W illiamson, Steven Sewell, Patrick Cook, Tim Robertson, David Allen and Steve Vizard; with Max Gillies. Throughout Nov. WEST COMMUNITY THEATRE (3707034) Whatever Snaps by The West Clown Troupe, Touring Western Region prim ary schools. Just A Simple Bloke with Phil Simner, Ian Shrives and Richard Zatorski. Available for bookings throughout Nov. WOOLLY JUMPERS TIE TEAM (052/222318) A play on an Australian theme for Poppy Kettle at the Springding — The Geelong Festival. Nov 2. For entries contact Connie Kramer on 8619448.

ACT

CANBERRA THEATRE (497600) Cambridge University Revue; Presented by Michael Edgley International Ltd. Nov 19 and 21. JIGSAW THEATRE COMPANY (470781/485057) War o f the Words by Graham Pitts; director, Graeme Brosnan. Playing

prim ary schools throughout Nov. Hum; a group devised show for pre schools; director, Graeme Brosnan. Throughout Nov. PITS (485311) The Naked Vicar Show; a Bates and Woodward theatre and bar production. Throughout Nov. THEATRE THREE (474222) Reedy River by Dick Diamond. For entries contact Janet Healey on 494769.

NSW ENSEMBLE THEATRE (9298877) The Elephant Man by Bernard Pomerance; director, Hayes Gordon, designer, Shaun Gurton. Internationally successful drama of hideously deformed John Merrick and his acceptance in Victorian society. To mid Nov. FRANK STRAIN’S BULL N BUSH THEATRE RESTAURANT (3574627) Hampstead to H ollyw ood; director, Frank Strain, musical director, Julie Symonds. Throughout Nov. HUNTER VALLEY THEATRE COMPANY, Newcastle (049/262755) Fanny’s Theatre Restaurant (262455): Hamlet on Ice; Throughout Nov. Piccardi Restaurant (24931): Yule Play it Again; Starts Nov 3. KIRRIBILLI PUB THEATRE (921415) The Private Eye Show by Perry Quinton and Paul Chubb; with Zoe Bertram. Throughout Nov. MARIAN STREET THEATRE (4983166) Once Upon A Mattress; music by Mary Rodgers, lyrics by Marshall Barer and Dean Fuller; director, John Milson; Throughout Nov. MUSIC LOFT THEATRE (9776585) Pardon Our Privates; director, Peggy Mortimer; with Ron Frazer. Throughout Nov. NEW THEATRE (5193403) On The Wallaby by Nick Enright; director, Frank Barnes. Nick Enright’s very successful docum entary/m usical on the depression years in SA. Into Nov. Yobbo Nowt by John McGrath;

director, Marie Armstrong. Starts mid Nov.

Starts Nov 12. Two very different NZ pieces.

NIMROD THEATRE (6995003) Upstairs: Last Day in W oolloom ooloo by Ron Blair; director, John Bell, desigher, Tony Tripp; with Pat Evison, Les Dayman, Peter Collingwood, Ron Falk, Stuart Campbell and Robert Alexander. Blair’s black comedy about Sydney urban development. To mid November. Tales From The Vienna Woods by Odon von Horvath, translated by C hristopher Hampton; director, Aubrey Mellor; with Cathy Downes, Michele Fawdon, Barry Otto, Deidre Rubenstein, Anna Volska and John Walton. The search for happiness against m ounting pressures in 30’s Germany. Starts Nov 25. Downstairs: Eyes Of The Whites by Tony Strachan; director, Neil Arm field. About the clash of New Guinea native culture with Australian imperialism. Starts Nov 4.

PLAYERS THEATRE COMPANY (307211) Bondi Pavillion Theatre: The Corn is Green by Emlyn Williams; director, Doreen Harrop. T hroughout Nov.

NOMADS THEATRE COMPANY (066/217195) Alstonville Com m unity Centre: Bedfellows by Barry Oakley; director, Peter Derrett. Throughout Nov. NSW THEATRE OF THE DEAF (3571200) Theodore for prim ary schools and The Unheard World of Jasper Lawson for secondary schools; directors, Ian Watson and Nola Colefax. Throughout Nov. O’MALLEY THEATRE COMPANY (333817) Stables Theatre: Shorts, a season of one act plays in repertory including Drums Along The Diamantina by Tim Gooding; director, Lex Marinos; Slow Death To In fin ity by Gordon Grahame; director, John Gaden; News U nlim ited by Roger Pulvers; director George Miller; Is This Where We Came In by Mil Perrin; director, Robyn Nevin; and Mrs Thally F by John Romeril; director Phil Noyce; with Terry Bader, John Hannan, Robert Hughes, Mel Gibson, Elizabeth Alexander, Sandy Gore and Elizabeth Chance. Throughout Nov. PHILLIP STREET THEATRE (2328570) Blood of The Lamb by Bruce Mason; A Court Theatre, C hristchurch presentation. To Nov 8. Flexitime by Roger Hall; director, Peter Williams.

Q THEATRE (047/215735) On Our Selection by Steele Rudd. The popular Dad and Dave saga with music. Penrith, throughout Nov. STUDIO SYDNEY (7713333) I Sent A Letter To My Love by Bernice Rubens; director, Graham Corry; with Leila Blake and Ross Sharp. Throughout Nov. SHOPFRONT THEATRE FOR YOUNG PEOPLE (5883948) Free drama workshops on weekends; includes playbuilding, mime, dance, puppetry, design, radio and video. Youth Theatre Showcase: The Tribe of Timbuktu playbuilt by the cast; director, Gerry Tacovsky, and The Brass Butterfly adapted from William Golding; director, Michael Webb. Nov 27 and 28. SYDNEY THEATRE COMPANY (3584399) Drama Theatre, SOH (20588): Chinchilla by Robert David MacDonald; director, Rodney Fisher; designer, Brian Thomson; with Peter Carroll, Neil Fitzpatrick, Peter Cousens, Jane Harders, Jennifer Hagen, Linda Cropper, Robert van Mackelenberg, Mathew O’Sullivan, Frank Garfield and Scot Higgins. Starts Nov 10. Opera Theatre, SOH: Cyrano de Bergerac by Edmond Rostand, translated by Louis Nowra; director, Richard Wherrett; set designer, John Stoddart, costume designer, Luciana Arrighi, music, Sarah de Jong; with John Bell, Robyn Nevin, Ron Haddrick and Robin Ramsay. Re-run of last year’s brilliant production with Robyn Nevin in place of Helen Morse. Outstanding performance by Bell. Nov 6-21. THEATRE ROYAL (2316111) The Rocky H orror Show by Richard O’Brien; director, David Toguri; designer, Brian Thomson; with Daniel Abineri, Steve J. Spears and Stuart Wagstaff. Throughout Nov. For entries contact Carole Long on 3571200/9093010.

T H E A T R E A U S T R A L I A N O V E M B E R 1981

NT DARWIN THEATRE GROUP You’re A Good Man Charlie Brown by Charles M Schultz; director, Tony Soszynski. Starts Nov 26. TIE-DIE, Theatre in Education/Dram a in Education. Touring Darwin prim ary schools with Dick and Doara, Trees, I ’ve Got A Name and The Long and Short Of It. Throughout Nov. For entries contact Tim Gow on 818424.

QLD ARTS THEATRE (362344) Double Edge by Leslie Darbon and Peter Whelan; director, William Davies. To Nov 7. Behind The Arts, conceived and directed by Ken M cCaffrey and Eric Hauff. Revue: light hearted songs and sketches. Starts Nov 10. LA BOITE THEATRE (361622) Mary Barnes by David Edgar; director, Malcolm Blaylock; with Keith Arent and Jennifer Flowers. Absorbing true story of a schizophrenic cured in an alternative psychiatric experim ent and a study of the energy of the ’60’s. To Nov 14. London Blitz by Frank H atherleyand Jeremy Barlow; director, Robert Kingham. Music and sketches from The Happy Shelterers: a nostalgic trip back to the war-time spirit. Starts No 20. QUEENSLAND THEATRE COMPNAY (2213861) SGIO Theatre: On Our Selection by Bert Bailey; director, Peter Duncan, designer, Graham McClean. Dad, Dave and the fam ily plus sundry hangers on and a few songs. Recently a smash hit at Nimrod. Nov 6-21. Her Majesty’s Theatre: Annie by Thomas Meehan, Charles Strouse and Martin Charmin; with David Clendinning and Tereska Harbottle. QTC’s highly successful production returns to Brisbane after a state tour. Starts Nov 26. THE TN COMPANY (3525133) Woodward Theatre, Kelvin Grove: Mother Courage and Her Children by Bertolt Brecht; director, Bryan Nason, designers, David Bell and Mike 40

Bridges; with Jennifer Blocksidge, Judith Anderson and Errol O’Neil. Tragic loss and the business imperative. One of Brecht's perennially popular works. Starts Nov 18. For entries contact Jeremy Ridgeman on 3772519.

SA CORE THEATRE (2673751) Sheridan Theatre, N Adelaide: Broadsview: An historical study of women in Australia, examining the effects on women of a male dominated culture. Nov 5-19. Q THEATRE (2235651) The Fantasticks by Tom Jones and Harvey Schmidt; director, Peter Goers, musical director, Barry Hill, designer, Colin Ewings. STAGE COMPANY (2236283) The Space, Festival Centre: Sandy Lee Live at Nui Dat by Rob George; director, John Noble. A country and western singer on tour in Vietnam — interwoven with an examination of attitudes to the war. Starts No 26. STATE THEATRE COMPANY (515151) Playshouse: No End Of Blame by Howard Barker; director, John Gaden, with Jeffrey Booth, Peter Crossley, Patrick Frost, Robert Grubb, Alexander Hay, Deborah Kennedy and Geoffrey Rush. The first major production of one of B ritain’s most contem porary playwrights. To Nov 7. The Threepenny Opera by Bertolt Brecht and Kurt Weill; director, George Whaley; with Marilyn Allen, Peter Cummins, Vanessa Downing, John Gregg, Robert Grubb, Jeannie Lewis and Deborah Little. Probably Brecht’s most popular musical. Starts Nov 14. Price Theatre: The Sad Songs of Annie Sando by Doreen Clarke; director, Margaret Davis; with Isobel Kirk, Stuart McCreery, Jacqy Phillips and Christine Woodland. This new play about two women who seek refuge in a w om en’s shelter questions the effectiveness of the helping professions. Starts Nov 20. THEATREFUL OF FANTASY/THE ACTING COMPANY (2740261) The Space: Space Movers by Nick Gill; director, Sue Rider. Two children

T H E A T R E A U S T R A L I A N O V E M B E R 19 8 1

are taken on an intergalactical voyage by the Space Movers and return to reality with some new perspectives. Nov 3-7 then country tour. TROUPE THEATRE (2717552) Cloud Nine by Caryl C hurchill; director, Richard Collins. A highly enjoyable farce about sexuality. Starts Nov 19. For entries contact The Association of Com m unity Theatres on 2675988.

WA HIS MAJESTY’S THEATRE (3216288) UK Theatre Productions and Chappell and Co p re se n ts Funny Thing Happened On The Way To The Forum; director, Jenny McNae, musical director, Peter Bandy, choreographer, Barry Screaigh; with Noel Ferrier. Nov 3-14. HOLE IN THE WALL (3812403) D em olition Job by Gordon Graham; director, Edgar Metcalf; with Chris Greenacre, Peter Hardy and Andy King. Nov 5-21. REGENT THEATRE (3811557) An Evening’s Intercourse With Barry Humphries. Dame Edna et al return. Nov 3. SPARE PARTS PUPPET COMPANY (3353533) Touring m etropolitan high schools with Masked. Touring south west with Fings and Faces and Shape and a Promise. Throughout Nov. For entries contact Margaret Schwan on 3411178.

TAS POLYGON THEATRE (348018) Lamb of God by John Summons. In rehearsal during November. SALAMANCA THEATRE COMPANY (235259) Touring Hobart schools with A n n ie ’s Com ing Out and Wood Song. Nov 2, 3, 9-13 and 16-20. Workshops with Dave Allen on new scripts for 1982. Nov 4-6 and 22-30. M ulti Arts N ight in Salamanca Theatre Rehearsal Space. Nov 6. Jo in t Theatre Forum Weekend. Nov 7 and 8. Public performances of A n n ie ’s Com ing Out and Wood Song for Festival Week. Nov 22-30. For entries contact Jon Fogarty on 308022 ext. 2740.

RA Wb

Contributing Editor: Justin Macdonnell STAM PEDE FOR AIDA Canberra Opera had barely put its tickets on sale for their spectacular new production of Aida due next month at the National Sports Centre when there was a rush at the box office. Bookings have come from all over Australia for this unique event and 1 understand that various package tours for both plane and coach parties have been sold out within days of their announcement. It would be nice to think that if the project is a success this year it could become an annual event with some of the other blockbuster pieces such as Turandot being given similar treatment.

NEW LAMPS FOR OLD? In a rather complicated volte face, Victoria State Opera seems to be buying back part of the farm. Amongst the productions scheduled for 1982 is the revival of their highly successful pro duction of Mozart’s Idomeneo premiered in 1979. The problem is that in the meantime the VSO had sold the sets and costumes designed by John Truscott to the Aust ralian Opera for inclusion in the latter's 1980 season. The Victorians are now in the quaint position of having to buy back a production which, given the alleged tree exchange of materials between companies, one wonders why they had to sell in the first place!

QUEENSLAND IN REVERSE? After the closure of the Queensland Opera Company and the announcement of the forthcoming Lyric Opera of Queens land as its replacement, it seemed as though the future of professional opera in that State might be set on a firm footing. There were rumours that a sum of $lm was being considered by the State Govern ment as the basis for funding in 1982 and the bipartisan compilation of the new Board indicated that a laudable rappro chement might be reached with the rival Queensland Light Opera Company. The State Government budget, however, which was brought down at the end of September has dealt a severe blow to these hopes. The new company has been granted only $300,000 which is barely $50,000 more than the meagre grant that the old company had in 1980. Meanwhile, the Light Opera Company has received $140.000 from the State. It seems curious that when chronic underfunding was at the basis of its predecessor's problems and ultimately the

reason for its termination, the Govern ment can proceed with eyes wide open down the same dangerous track. One cannot help feeling that if this is the best solution which can be reached they would then be better off giving the money to some other existing arts organisation in the State.

RITA HUNTER IN CONCERT The distinguished British Soprano, Rita Hunter, who has been recently stunning audiences in Sydney with her performance of Lady Macbeth in Verdi’s opera, will appear for the first time as a concert artist in next year’s festival of Sydney. Miss Hunter who is internationally renowned for the major Verdi and Wagner roles, especially in her home base at the English National Opera, will give a recital on Saturday, January 30 at the Sydney Town Hall of arias from the major roles with which she has been closely identified such as Norma, Elizabeth in Tanhauser, Turandot and Aida. Her associate artist will be the acclaimed Australian mezzo Lauris Elms.

R ita H u m e r.

THIlA MUSGRAVE’S v i s i t The distinguished Scottish-born com poser Thea Musgrave will be in Australia for the premiere of her Opera A Christmas Carol by the State Opera of South Aust ralia on November 14. Ms Musgrave will give four lectures during her stay: two each at the University of Adelaide and the Adelaide College of Art and Education. These will be open to the public and those interested should contact the relevant institutions. Bizarrelv. though the composer has some free time and will be visiting Melbourne and Sydney in a private capa city, the State Opera has been unable to elicit a flicker of interest from organisa tions in those cities. The visit will be Ms Musgrave’s first to Australia and has been sponsored by a somewhat whacky combination of Myer Adelaide stores and the British Council. This will be only the second production of A Christmas Carol in the World. It’s premiere having been in Norfolk. Virginia just two years ago. It's next appearance is in a production by the Royal Opera Covent Garden at the Cochrane Theatre in London. With these credentials one would have thought students of composition at say, the NSW Conservatorium might have had something to gain from one of her lectures?

T r u s c o tt's d e s ig n to r V S O s

Idomineo.

T h en M u sg ra v e

THEATRE AUSTRALIA NOVEMBER 1981

featw e THEGHE by Justin Macdonnell

It may be like harping on a tired old theme but one cannot too greatly emphasise the effect, firstly that the process of the Australia Council’s Inquiry into opera and music theatre had on the various opera companies in Australia and secondly, that the rejection of the resultant report by the Federal Government has had subsequently on the "mood" of opera managements. And, it is not just the money. It is a bunker mentality which has intensified around the country with each or ganisation separately digging in and away from its fellows for what each sees as the long cold winter ahead. It’s a condition which may be observed in all of the arts at the moment as back cuts at all subsidising levels hit and as activity is caught in the cost-push inflationary trend. Fortunately, how ever, CAPPA to which many of the dance and drama companies belong, might just be sufficiently strong and coherent to head off the worst effects of the drought in these areas. In opera, unless something quite extraordinary happens, the reverse is likely to be the case and isolationism will prevail. Immediately prior to the Inquiry a few faint buds of co-operation had started to show through. South Aust ralia’s One Man Show and the VSO’s Pearl Fishers had both appeared as part of The Australian Opera’s 1979/ 80 season in Sydney. Joint subscrip tions abounded round the country (whether they were good or bad in themselves is, at this point, irrelevant. They were at least symptomatic of co operation). Managements were start ing to emerge from their blinkeredness and to consider the possiblity that six separately guarded bastions, city to city, were not necessarily, or even inevitably, the best way to manage operatic production and performance in this country in the 1980’s and, moreover, that the ever-elusive arts dollar might be more effectively spent 42

in the exercise of a little neighbourli ness rather than in segregation. The rejection of the report turned back this clock and saw everyone scrambling for their own survival. It is fair to say that, in many quarters, things are now back even beyond "square one". The question being least of all considered now is how the whole gamut of management production and performance across the country should interrelate. Rather it is who in the operatic futures market will keep their heads above water. Because for all the many fine observations and proposals made in that report one of the issues with which the Inquiry failed to come to grips, is whether we in fact, need in Australia six and, if you include New Zealand then, in the pacific region, seven separate operaproducing bodies. The question stands even allowing for the curiosities of distance and demography with which we all contend. Indeed, one might go further and question whether this configuration of management and company structures will be even relevant in the 1980’s with the emergence of the quite aggressive entrepreneurial grid that must be consequent upon the opening of the new arts centres both capital and provincial and the increasing degree of collaboration between them through their Confederation. Would not opera perhaps be better served within such a multi-disciplinary context rather than at the moment with its highly deve loped ghetto mentality? One does not see these issues being addressed in any operatic forum cur rently. It is still one of the saddest limitations of the Opera Conference — which is the association of profes sional companies in the country — that it never reached the stage of being able to afford a sufficiently strong or on-going secretariat to evolve and implement any sort of overall forward strategy for the sharing of resources and production amongst its members. The frequent duplication from state to state of productions of many key repertoire pieces year after year has been a sad business. Of course, every

T H E A T R E A U S T R A L I A N O V E M B E R 1981

F a in t b u d s oj c o - o p e r a t i o n ir SA SO '

One Man Show

STALITY

VSO's Pearl Fishers appealed as part of the AO ’s 7V/80 season.

organisation is able to advance reasons why they need right now such and such a production for audience growth and stability, for casting reasons, for touring reasons etc. But frequently one cannot help feeling that sheer bloody-mindedness and lack of foresight and co-operation had lead to patterns such as La Traviata: SASO 1978, AO 1978, WA 1980, VSO 1981, Die Fledermaus: WA 1974, Queens land 1976, SOSA 1979, VSO 1981, AO 1982 or Faust: Queensland 1979, VSO 1981, SASO 1982. There have of course been some fine examples of collaboration. The recent westward tour of Adelaide and Perth of the Australian Opera’s La Boheme stock is a conspicious example. The SASO’s Cosi fan Futte which has already been to New Zealand and about to go to Scotland and, we hear on the grapevine, elsewhere on loan, may well end up being the most borrowed production in Australian operatic history. These are, however, aberrations and certainly not the result of any coherent throught-through or adopted plan. To give an example, if the State Companies, even alone, were serious in their desire to share resources it would not be beyond the wit of man to devise a formula for the manufacture of, for example, six new productions around the country per year — two each say, in Adelaide and Melbourne, one each in Brisbane and Perth. Such a system would have kept the overall circuit supplied adequately with re vivals and exchanges and generally have reduced the cost and wastage of stock. Blame in any one quarter should not be apportioned. But, it must be said that in place of ad hoc bilateral exchange from time to time we have need of a serious attempt to evolve a blue print for the life of a production throughout the country whereby say, a Don Giovanni origina ting in Melbourne might subsequently tour to Adelaide and Perth in year "A", be available in Canberra, Brisbane in year "B" and thence for revival in year ”C” back in Melbourne. Such a cycle must greatly reduce the need for the

AO's La Traviata — one o f many.

maintenance of independent work shops and wardrobe facilities by separate companies in each centre as opposed to amongst a group of companies in a centre. It can ensure that a production well built is not left to waste in storage, as many of the very best state produc tions have been, by eking out its existence profitably somewhere in the country, providing a pool of con tinuous employment (albeit on a rather nomadic basis) for the in dividual artist and give a greater exposure to a wider audience nationally of the directorial and design talent which exists at the state level but which all too frequently has been ignored in the national sphere. Whatever, the end of it all seems abundantly clear that the financial/ organisational crunch will hit in late 1982 and with a vengeance in 1983. Even the successful Victorian and South Australian Companies living off fixed, or nearly fixed, incomes will be unable to withstand the inflationary pressure. The Australian Opera with its cancel lations in Newcastle and Melbourne last month shows it is already ex periencing acute difficulties which even a 10% increase in public funding and a growing private sector support cannot constrain. The companies in Perth and Can berra are stagnant fiscally and the grant money announced for the new company in Queensland gives little hope that it will fare much better than its predecessor. Meanwhile, the Arts Centres from Townsville to Perth continue to chase and, with varying degrees of success, exploit entrepreneurial product from around the country and even from abroad. Is it too much to hope that before the sand runs out altogether and opera is thrown back into the level of the 1960’s, that someone may be brave enough to come out of the bunker, knock a few heads together and shout — from the roof tops if necessary — that without goodwill and co operative action (as opposed to the platitudes of co-operation) everyone will be down the drain?

THEATRE AUSTRALIA NOVEMBER 1981

international Music and drama at Bayreuth by John Carmody In 1855 Queen Victoria told Wagner that she thought it would be "nice" if his operas could be translated into Italian for performance in London: she expressed a view that is still all too common, especially in Australia, that opera, beingan irrational and exotic entertainment, is best not understood. It is the attitude of the current regime in the Australian Opera to whom opera is an insubstantial, ephemeral re freshment after a day of reality, no more nourishing than a sorbet. This attitude is also not uncommon amongst patrons and practitioners of what is curiously described as the "legitimate theatre". They often have the idea that opera is undramatic, a misconception stemming from a misunderstanding or ignorance of the different conventions and a failure to recognise that every art has its conventions and can be properly appre ciated only when they are fully understood and assimilated. Bayreuth — despite the acknowledged difficulty of coming to proper grips with Wagner’s oeuvre — is the ideal place to recognise the great dramatic potency of opera, or music drama as Wagner pre ferred to call it. This is partly because the season is only a short one (four weeks with a few weeks’ intensive rehearsal), and partly because of the enthusiasm and commitment that come from the fact that all the participants — singers, instru mentalists, stage workers — have given up their summer holiday in order to partici pate. In addition, the Festival Direction always engages fine and imaginative pro ducers and they are heirs to Wagner’s own thinking and practice. He wrote a good deal about the philosophy of the theatre and one of his most important books is Opera and Drama. In fact, in writing as early as 1850, to a friend about the Festival that materialised only in 1876 he spoke of "inviting all friends of the music drama to my dramatic music festival". He considered the theatre "the most comprehensive, the most in fluential of all artistic institutions" and he endorsed the view of Joseph II of Austria that the function of the theatre is "to contribute to the elevation of taste and morals." Wagner was widely read in philosophy, especially the German philosophers, and 44

German theatre and the arts generally retains a strong philosophical core. So Patrice Chereau's famous centenary pro duction of The Ring o f the Nibelung evoked more than a vigorous and prolonged vocal response in the Festspielhaus. Pamphlets were written attacking and defending the production and the musical direction by Pierre Boulez. The production is still discussed with much heat of approbation or condemnation. Vienna was similarly polarised when Karajan returned in 1977 to conduct at the Opera for the first time in years. It was rumoured that he was about to become General Music Director and immediately there were demonstrations (pro and contra), the theatre was virtually picketed, polemical leaflets were replaced under windscreen wipers. So German audiences generally come to the theatre well-prepared, often with text in hand for interval reading, and with high expectations. Sometimes, as the "perfect performance" is sought, these are a little unrealistic: then disappointment is vocalised just as vigorously as approval. The new production of The Mastersingers o f Nuremberg, by the composer’s grandson Wolfgang Wagner (who is also Director of the Festival) evoked a sur prising amount of booing, possibly be cause it was a conventional, "safe" realisa tion. It also missed many of the comic possibilities of the street riot scene at the end of Act II where the action was curiously confined and, worse, no use was made at all of the numerous windows in the facades: in these respects the Sydney pro duction was more lively and diverting — pillows and other missiles came from all the windows and a real free-for-all deve loped. In most other respects — and especially in its casting — the Wagner production was successful. Both Hans Sachs (Bernd Weikl) the shoemaker-poet, who is emotionally and philosophically the central character, and Sixtus Beckmesser, the Town Clerk (Hermann Prey), rivals in music and unsuccessfully, for the love of Eva Pogner, were both youngish men (about forty, for the benefit of the very young), which made the romantic interest, and Eva’s undoubted affection for Sachs, far more plausible. Just as important (and again in contrast to conventional practice) Beckmesser was not parodied at all — he is a pedant certainly, but we have our feelings, and his music is not at all dull: his humiliation in the final scene was all the more affecting as was Sachs’s pointedly drawing him back into the Guild.

THEATRE AUSTRALIA NOVEMBER 1981

Bayreuth I estival produetion o f Lohengrin.

The other productions were altogether different and far less literal in their conception. We saw the last performances of Wolfgang Wagner’s production of Parsifal, prior to a new staging for the centenary of the work next year. Wagner emphasised the ritualistic quality of the opera and the symbolism was impressive: for example, the ceremony of the Grail on Montsalvat is celebrated in a huge cham ber like a vast Gothic apse formed by enormous pillars that curved inwards as they rose. Those same pillars were used in Act II for Klingsor’s castle — but then they curved outwards. In Lohengrin, too, the sets established the atmosphere of the action. They were by the artist Guenther Uecker who uses gigantic nails in everything he does which made fascinating shadow patterns that changed with the lighting: much use was also made of the massed patterns of the soldiers’ lances (the scene at times re sembled an Altdorfer painting) and ex tremes of chiaroscuro — the conflict between the powers of light (Lohengrin and Elsa) and of darkness (Ortrud and Telramund) could hardly have been more starkly or overpoweringly displayed. The two productions which will remain longest in my mind, however, which continue to exercise it and are unarguably the finest, most imaginative and tech nically assured — virtuosic, indeed, — of any sort that I have ever seen were The Hying Dutchman, directed by Harry Kup-

fer, a distinguished protege of the famous Berlin producer and theatrical thinker, Walther Felsenstein, and Tristan anti Isolde, by the renowned Frenchman, JeanPierre Ponnelle. Yet these two were achieved by utterly different means. Kupfer totally reversed the usual inter pretation of the work — a man’s search for the perfect woman — and made the whole thing Senta’s dream. So Senta was on stage the entire time and was moved in and out of our direct perspective on a hydraulic platform. Scene changes were effected almost instantaneously as upper parts of walls were flown out and lower parts dropped to horizontal or almost hori zontal positions. These changes to the stage picture, with imaginative lighting created numerous surrealistic illusions — one often felt that the spirit of Rene Magritte hovered close by. The seal was set on this superb achievement by the dramatic (in every sense of the word) performance of the great American singer, Simon Estes, in the title role. He was always formidable, from the first appear ance of his immense ship, its prow an enormous pair of hands. At the same time it was a tangible yet dream-like per formance. Tristan on the other hand, was done essentially with lighting which played innumerable, constantly-changing inter pretive variations on the simple, but conceptually unified, sets. This lighting, complex and virtuosic, was as central to

the explication of Wagner’s theme as the orchestral or vocal music. There were 230 lighting cues (each of which had taken, in rehearsal, at least an hour to set up), far more than the Australian Opera would use in a handful of productions and the difference — in sheer technique and imagination — shows how impoverished Australian attempts are in this respect. Whether this is because the equipment at the Opera House and elsewhere is inade quate or our producers simply ignore the expressive possibilities of lighting, I cannot say, but the difference must not be ignored or explained away. One example must suffice. The love scene of Act II took place under a spreading tree of lush foliage while the emotions of the lovers were mirrored in the metamorphoses of the lighting and the climax of their love was in total dark ness. When, a little later. King Marke and his party returned from their hunt, the feared and loathed day returned: abruptly, the inner of two cycloramas dropped and suddenly the grey light of dawn broke and the tree seemed stripped of virtually all its leaves: the world was changed irrevocably and the integration of music, stage atmos phere and mood was stirring. One could go on and on with such telling examples of insightful thoroughly theatrical interpre tation. The real lesson of Bayreuth, then, is — as Wagner himself well knew — what a potent, profound, illuminating, enthral ling and uplifting experience the music theatre can be. The music and drama — each incomplete without the other.

^Even Scrooge wouldn’t deny anyone

Christm as Carol Charles Dickens' tim eless story brought vividly to life in the Australian premiere of a delightful opera by Thea Musgrave

)? **

D ir e c to r :

C o n d u c to r : Denis Vaughan Robin Lovejoy, D e s ig n e r : Tom Lingwood

with the Adelaide Symphony Orchestra (courtesy of the A B C.)

T H E O P E R A T H E A T R E , A D E L A ID E

November 14, 17, 19, 2 1 ,2 4 , 26 and 28 at 8 p. m. Book now at B A S S

THEATRE AUSTRALIA NOVEMBER 1981

review Disparate after images by Ken Healey September was a satisfying month to be exposed to the repertoire of the Australian Opera. 1 saw three productions which left totally disparate after-images; none was an experience that I should willingly have missed. John Copley’s production of Macbeth grows in memory until a lasting impression remains of a presentation full of power and authority. Janacek’s Jenufa remains just that: an unforgettable opera, a master piece which received a fair degree of the excellence due to it in performance. As for Piccini’s understandably neglected La Banna Lig/io/a, what lingers is a grudging respect for the entrepreneurial bravery that risked its resurrection. Macbeth, despite Verdi’s fondness for it, is not nearly as fine an opera as Rigoletto. which only a few weeks earlier had failed to stimulate, despite the efforts of the same producer, John Copley. It was largely a matter of casting, strange as it may seem, for baritone Robert Allman sang the title role in both operas. After an unconvincing Rigoletto, he gave us a Macbeth that was vocally sonorous, and physically powerful. It was dramatically driven by his evil will, en slaved though it was to the spirit of his dominating wife. Only Allman’s Nabucco and perhaps his Boccanegra have sur passed this characterisation. Rita Hunter is a Lady Macbeth who demonstrates that murder is first a physical act. Strength of body, including vocal power, is her means of communication, of exercising her indominable will. Verdi wrote in the mid-nineteenth century that these roles were rather to be acted with the voice than sung; he could hardly have cavilled at the way this pair of protagonists acted through their singing and their physical presence. For the performance I attended, no less a figure than Clifford Grant replaced an indisposed Donald Shanks as Banquo. How long must we wait before Don Carlos is mounted and they have the chance to share a production? Tenor Lamberto Furlan demonstrated in Macduff’s single aria that the extraordinary development he displayed some months ago as Cavaradossi was not limited to that role. Can he sustain the improvement under a producer other than Copley? 46

THEATRE AUSTRALIA

Rita Hunter as Lady Macbeth for the AO. Photo: Branco Caica.

Beverley Bet yen anil Elizabeth Irctwell in the AO

As for the witches, I prefer Shake speare’s three to Verdi’s pragmatically necessary three groups. Hampered by singing in Italian, the massed women cannot sufficiently focus their malevolence upon Macbeth. We become conscious of stage effects. Speaking of which, the designs of London-based Stefanos Lazaridis show grandeur and rough regality while remaining practical. He is a welcome addition to the national company's roster of designers. London has also become the musical home of conductor Charles Mackerras, recently returned as the first-ever Aust ralian to become chief conductor of the Sydney Symphony Orchestra. May the Australian Opera snare him all the more frequently henceforth. He had us almost forgetting the unintentionally humorous tum-ti-tums of so much of the orchestral accompaniment. How rarely we hear a conductor of this quality in our opera pits. One associates Mackerras with the operas of Janacek, and I cannot help wondering how much his absence this season from Jenufa contributes to its being good rather than splendid. Significantly, but not entirely, would be my guess. Once again casting is foremost: Beverley Bergen acts the title role affectingly and sings musically; Elizabeth Fretwell puts her considerable stamp on the Kostelnicka’s music. But those who recall the original production will still miss the total involve ment of Lone Koppel-Winther’s Jenufa

Goldoni’d Pamela? I refer to La Buona Fig/io/a, a virtuous maid, but innocent of the irony of Richardson’s Pamela An drews. Signor Goldoni transmuted the novel almost as much as Messrs Enright and Clarke changed the Goldoni of The Venetian Twins. Thus do 1 justify com paring this novelty only with Richard Bonynge’s other exotics of the season. The Beggars Opera, and Les Huguenots. 1 confess to an initial cynicism regarding all three. In the event, only the de MilleTchaikowskv Beggars Opera was indefen sible; the Piccini runs a respectable second to the Meyerbeer, and may have rivalled it had the composer strengthened his flimsy talent with the stiffening of musical parody. (Thank you once again, Venetian Twins.) In Canberra I saw Lynne Cantlon, Heather Begg, Richard Greager, Thomas Edmonds, and Ronald Maconaghie. They were alternating with a completely dif ferent cast throughout the run. David Kram had taken over the conducting from s Jenufa. Photo: Branco (illicit. Richard Bonynge, and the Australian Chamber Orchestra was playing with and the vocal thrill of Elizabeth Connell’s commitment and accuracy, if not with Kostelnicka. 1 do not recall Connell as a authentic style. relaxed actress with much dramatic scope, By adopting the transparent convention yet she gave a perduring strength to the that the members of a noble house are murderous Kostelnicka which Fretwell's presenting this divertissement for their and too readily guilty woman missed. our pleasure, the production fairly effec Following the same line, it is necessary tively blunts many a critical barb. None to report that Gregory Dempsey’s Steva is theless, if coarse, comic Deutschlanders, not as heartrendingly weak and drunken as veritable black-pudding soldiers, of the Robert Gard’s was. Ron Stevens seems to sort portrayed by Ronald Maconaghie have toughened his characterisation as the were thought funny in the eighteenth older, less favoured step-brother, Faca, century, then we have indeed greatly which leads us to wonder about Jenufa’s refined our sense of humour. future happiness; her baby’s death is a For the rest, no one sang outstandingly public fact, and her new husband a poor well, though Heather Begg has much to substitute for her romantic picture of the commend her in person, presence and worthless Steva. voice, a splendid figure of a Marchioness. I Despite the enduring strength and stark thought that both tenors, Greager and ness of Allan Fees’s settings and the fact Edmonds, had noticeably to thin their tone that Stuart Challender, though no Macker to encompass the vocal roulades with any ras, is competent in the pit, Jenufa in this degree of comfort. It was like hearing realisation owes more of its success to inferior versions of the vocal line of "II Mio Janacek than to members of the Australian Tesoro". Opera. The sticking point is that one 1 noted a sad song, a vengenace aria, the cannot help comparing it not only with fact that we were 50 minutes in before the itself in a previous manifestation, but with sequence of recititive-aria was broken; that the company's current Katya Kabanova, the Act I finale actually expanded to which is where the present Janacek become a quintet of sorts, and that the strengths are deployed. After so much by controlled crescendo of intensity in way of comparison, I must admit to not Heather Begg’s aria about the cavaliere having seen the 1977 cast of Macbeth, when was a fine example of pre-Mozart Italian Connell and John Shaw made an im set piece. I left the theatre grateful — it pression that for many may have set an might have been much worse — and unreachable standard for this season’s thanking God for Mozart. What a leap interpretors. forward Figaro was. With what does one compare Piccini's THEATRE AUSTRALIA NOVEMBER 1981

VIC CANBERRA THEATRE (497600) The Gondoliers by G ilbert and Sullivan. Canberra Philharm onic Society production. Nov 5, 6 and 7.

QLD QUEENSLAND LIGHT OPERA COMPANY Her Majesty's Theatre (2212777): Die Fledermaus by Offenbach (in English). Starts Nov 6. A Tribute to Richard Rodgers in concert. In Brisbane City Hall. Starts Nov 12.

SA THE STATE OPERA A Christmas Carol by Thea Musgrave; director, Robin Lovejoy; conductor, Denis Vaughan; designer, Tom Lingwood; with James Chris tiansen, Thomas Edmonds, Denis Olsen, Edwin Hodgeman, Judith Henley, Heather Ross, Roger Howell, Ruth Gurner, David Brennan. An Australian premiere of Dickens' timeless story as an opera, woven with Christmas themes. Opera House, Nov 14, 17, 19, 21,24, 26 and 28.

TAS VICTORIA STATE OPERA La Traviata by Verdi. John Milson's highly successful production with designs by Peter Cooke has been an excellent touring vehicle for the Victoria State Opera. This Tasmanian tour follow s an earlier tour to Victorian country centres this year. Princess Theatre (Launceston), Nov 26, 28 and 30.

THE AUSTRALIAN OPERA Princess Theatre (6622911): Les Huguenots by Meyerbeer will now not be performed as part of the season, since it is not possible to present a work of this scale at the Princess Theatre. A special Gala C oncert will be held at the Princess Theatre on Saturday Nov 7 in place of the original opening night perform ance of Les Huguenots. The concert w ill be an all Puccini evening featuring international sopranos Rita Hunter and Marilyn Zschau together with leading Australian Opera stars, Anson Austin, Lamberto Furlan and John Shaw. The Elizabethan Mel bourne Orchestra will be conducted by Carlo Felice C illario. Norma by Bellini (in Italian), starring Rita Hunter will now be performed at the Princess Theatre for five per formances, instead of the previously scheduled six performances at the Palais Theatre. Nov 17, 20, 23, 26 and 28. The Marriage o f Figaro by Mozart (In English). A deft com bination of comedy and pathos, as the disintegrating relationship of the Count and the Countess Almaviva is contrasted with many of the com ic antics of the characters surrounding them. Nov 14, 21 and mat Nov 25 and 27. The Bartered Bride by Smetana (in English). A rather dreary new production by an undistinguished Czech team of conductor, Vajnan, producer, Koci, and designer, Hejnova which looks and sounds as though it were prepared for the Folk Opera in 1930. Nov 13, 18, 21, 24 and 28.

WA OPERA VIVA Octagon Theatre (3802440): The Turn o f the Screw by Benjamin Britten. Nov 19, 20, 21, 26, 27 and 28.

THEATRE AUSTRALIA NOVEMBER 1981

THEATRE AUSTRALIA NOVEMBER 1981 large had the Australian Ballet done the courtesy of inviting Ms Woolliams, the nation’s first and only Dean of Dance, to the gala performance of Onegin for the Queen. Anne Woolliams, one of the Australian A columnist for the Melbourne Age Ballet’s former artistic directors, has for noticed her absence and asked her the mally severed all connection with the reason, prompting her to reveal the company, and gone public with her deep succession of internal dramas. In fact, the concern for the "health" of the company in decision not to invite Ms Woolliams had a strongly-worded criticism of its taken place before any of them had management policies. I his is how it came happened: a letter dated August 28 had about. offered her seats to any Onegin perfor When Ms W oolliam s, who was mance except the "youth night" of Associate Director of the Stuttgart Ballet September 28, not mentioning the possib under John Cranko’s leadership, staged his ility of a Royal Presence on that very greatest full-length work, Onegin, for the occasion. Australian Ballet, there was a clause in the performing rights contract which specified Once the story had become public. Ms it could only be presented when she had Woolliams decided to break her silence on rehearsed it. She has returned to the the topic of the Australian Ballet, from company to direct its revival since she which she resigned after a disagreement became Dean of Dance at the Victorian with management in 1977. She did so in a College of the Arts. letter to the Age. This is the text of it. Earlier this year, she auditioned the "1 would like to express my concern for former Bolshoi dancers Valentina Kozlova the health of the Australian ballet. This is a and Leonid Kozlov for the roles of Tatiana company of fine dancers who are capable and Onegin at the Australian Ballet’s of producing performances equal to the request. But she told the company she did best in the world. not have the time to rehearse them to the "Your dance critic’s perceptive review of point where she would feel happy with Thursday’s premiere (Age, September 28) their interpretations of these two intensely is headlined A Good Onegin That Ought wrought dramatic roles. To Be Better, and 1 feel he has a point. 1 Yet these were the plum roles the also fear that audiences are being cheated company had offered the Kozlovs in of the excellence that this heavily subsid inviting them to join as principals for 1981. ised company owes the public at large. The next Ms Woolliams learned about the "Of the principals appearing on the subject was a letter from the Australian second night, Mr Neil Jillett (the critic) Ballet’s administrator, Peter Bahen, telling notes of one that the ‘sound intention to her that "at some inconvenience to the make Tatiana sexy as well as dreamy Stuttgart Ballet and considerable expense sometimes leads her into coarseness’, and to this company, we have been able to that the other ‘is made up to be a Satanic remedy the situation which resulted lrom rather than a caddish Onegin’. Both your unavailability." I his was to bring a interpretations then must be far removed senior Stuttgart principal, Reid Anderson, from the essence of the central characters to Australia to coach the Kozlovs. as seen by Pushkin or Cranko. At this point Ms Woolliams was still "In view of my reluctance to rehearse formally responsible for supervising re these otherw'ise moderately accomplished hearsals of the easts she had directed for the dancers for the very reasons mentioned Sydney revival of Onegin last April. But by your critic the management imported she was offered only one dress rehearsal 'at some inconvenience to the Stuttgart and it was to be a public one: there would Ballet’ and ‘considerable expense’ to the be a preview audience of something like Australian Ballet a dancer from Stuttgart 2,000 people and the Kozlovs in the to coach these artists in the roles of Tatiana main roles. Ms Woolliams, having made and Onegin. Upon my withdrawl from a sure Reid Anderson was prepared to take situation that became distasteful, he also over the production as a whole, withdrew undertook the supervision of preparation her services. The company will still be for the Melbourne season generally. obliged by contract to engage a Stuttgart "I think the public should know that at Ballet nominee to direct any future revivals this time there were three well prepared of the ballet. and, according to Sydney reviews of the This series of events would probably April performances, successful casts for have remained unknown to the world at

ANNE WOOLLIAMS AND THE AB

the ballet from amongst the permanent Australian members ol the company. "Are these policies either economic or sound? Is the morale of the dancers in a condition where sincere artistic endeavour can be expected? Surely those members of the public with genuine interest and concern for dance should now ask if the management of the Australian Ballet is using public money to promote artisticstandards or flogging a commercial project to the detriment of the dancers."

THE MAGIC OF DANCE By the time you read this, you may have missed a couple of programs from the series The Magic o f Dance, presented by Margot Fonteyn. My advice is to cancel all Thursday night activities except staying home in order to watch the rest. 1hey arcbeing shown around Australia on the ABC at 8.55pm. Admittedly, at the time of writing 1have seen only the first one. but 1 am confident that its quality and fascination will be maintained by the rest. 1 he archival material alone is worth seeing. Isadora Duncan and Ruth St Denis don't turn up on the screen at any old time. Nor will we ever see again the dance magic of Nureyev and Baryshnikov at the peaks ol their performing careers except through film records like these. It was reassuring to find the segments from the varied dance works were long enough to be satisfying, and delightful to see how crisply and succinctly Margot Fonteyn handled the commentary. The series is intended for general viewing, so there is no complicated verbal detail: the finer points are all there to be seen. 1he words simply give you the picture in broad sweeps and a feeling for the magic that can be dance. Margot Fonteyn in The Magic ol Dance.

THEATRE AUSTRALIA NOVEMBER 1981

by Jill Sykes Looking back over the past couple of years, Australian dance has had quitea surprising amount of exposure over seas. The Sydney Dance Company has been to America, Italy, London and Hong Kong. The Australian Ballet went to China and Mexico. The Aust ralian Dance Theatre was featured in the 1980 Edinburgh Festival. Somewhat less publicised was an extraordinary tour made last July by a group of Aboriginal dancers. They went to Los Angeles, Philadelphia, New York and Washington, perform ing in outdoor venues and giving workshops. Ironically, the tour was organised in such a way that the Americans in those cities have had better opportunities than urban Australians to see Aboriginal dance that is as close as staged programs can be to the original. Anthony Wallis, manager of the Aboriginal Artists Agency Limited one of the four organisations which presented the tour explains howthat happened. "Our 26 performers included the community elders of each of the three groups who took part. Since Aboriginal dance is a total group activity, it is important to bring all the right people to choose the selection of dances if you can afford it. In tours of Australia, no one has been able to. "Every program in America was crafted by these elders, according to how they felt on the day. The dancers don’t want to do the same thing every day. and even during the performances themselves the elders might change the choice of works to be done. The elders sat at microphones giving instructions to the dancers and introducing the dances, often in their own language, which Lance Bennett translated." Lance Bennett is director of the Aboriginal Cultural Foundation, which, with the Aboriginal Artists Agency and the Papunva Tula Artists, made up the group of Australian presenters. The Australian Govern ment provided $ 120,000 for the venture

ABORIGINAL DANCE IN AMERICA

Gambali Ngurruwuthun, a clan leader from Eastern Arnhem Land. Phone Jennifer Steele. H tiIpin tribespeople perforiti at Battery Park, New York. Photo: Jennifer Steele.

through the Australia Council, Film Australia and the Department of Foreign Affairs. Qantasand Bush Pilot Airways also helped. The American side was master minded by Spider Kedelsky. director of the Los Angeles Dance FestivalOrinoco Dance Foundation. He matched the Australian financial investment with the assistance of the US National Endowment for the Arts and Mobil Oil and local communities in the areas they visited. The response from their audiences was exciting. On campus at the University of California and Los Angeles, they had expected 500 but 1,200 came, leaping up and cheering at what they saw. In Washington, they

THEATRE AUSTRALIA NOVEMBER 1981

performed in a large park outside the White House. In New York, they danced in Central Park, Battery Park and Harlem. In San Francisco, the Oakland Tribune reported that the crowds Bowed on to the performing area to embrace the dancers after the performance: "It was a spontaneous outpouring of appreciation as only an entranced Berkeley audience on a warm summer day can demonstrate." Everywhere they went, the message of the Aboriginal Cultural Foundation Chairman, Nandjiwarra Amagula, was impressed on people: "Wetribal leaders are very pleased to have been invited to the United States of America, to show the American people that we still keep our traditional cultures strong. All traditional songs, dancesand musicare owned by tribal clans which belong to particular areas of land. The Ancestral Heroes of the Dreamtime created these forms for every different local clan to keep in sacred trust. "We have never felt the need to form a national traditional theatre company to build upouridentityastribalpeople, because we have never lot our identity. The clan leaders have simply chosen certain dancersand singers,and madea selection of certain public-sacred

dances and songs, especially for this visit to America." A well-illustrated program in troduced the groups from North East Arnhem Land, Western Cape York and the Northern Territory Desert, south of Darwin. It lists the dances from which they would make their selection and gives some indication of their content. "Spirits of the dead dig for yams". Bird and animaldances such as pelican, shark, seagull and wallaby. "The surface of the blue sea is torn by leaping fish." The singificance of some of the dances is also briefly explained. The presence of Aboriginal artists on their soil caused a great many American journalists to wax eloquent. The Washington Post latched on to the headline "Original Aboriginals With a Basic Beat", and the San Francisco Chronicle was quite overwhelmed: 'There we were, confronted with bizarre creatures, performing songs and dances drawn from a nearly pure tradition that goes back 30,000 to 40,000 years. . . The entire experience was awesome. When the first contact is made with life on other planets, it’s doubtful that the experience will be more astonishing." Not everyone was quite so openmouthed. One of the most rewarding things was the serious interest of the dance critics in New York. Deborah Jowitt gives them the close attention she lavishes on contemporary groups, describing their movements in detail. "Stylistic distinctions between the two are hard for a foreigner to pick out," she writes. 'The Cape York people hold long, long sticks, but both groups make spear-throwing gestures. The Cape Yorkers do a lot of standing in place, feet apart, jerking both knees in and out, but the Arnhem Landersdo some of this too. Everything seems terse and limited in scale: not much space covered, a few' repeated move ments in each dance,a few closetogether descending notes in each song, very short songs (some under a minute). "Sometimes a shriek or a bird-like ululation by the singer indicates that only two beats remain. These short

song-dances can be repeated or varied, I think, and strung together to make a longer piece. But the rhythm and performance energy is dropped in between repeats; performers shift around, look at each other, mutter. Will they do more? Maybe yes, maybe no." Marcia Siegel described them as "this summer’s most interesting foreign visitors" and Clive Barnes w'rote: This is raw dance, dance in its original needs. There is a human measure, much more a human dignity, in this kind ol dance than more specified choreographic vocabularies can possibly muster." The New York Times allowed space for several stories on the visit, and its chief dance critic, Anna Kisselgofl, wrote a studied Sunday piece on the background of Aboriginal dance as well as the performances on view. Jiri Kylian, director of the Nederlands Dans Theater, was in America at the time, and was quick to publicisethe Australian performers. Aboriginal dancing, he said, "has the kind ol incredible intensity and incredible seriousness of performers for whom dance really is the most important thing in their lives. It is a real material posession of theirs. And in Australia, the fusion of music, dancing and landscape is so perfect, that artistic triangle is really there." Kylian is one of the few nonAboriginals who have seen Australia’s original people dancing in their own environment. He attended a dance festival on Groote Eylandt last year, and is choreographing a full-length ballet inspired by what he saw'. It will be premiered in Holland. And what are we in Australia doing to record and encourage the perpetu ation of the Aboriginal dance traditions? Apart from sharing them with America, all too little. As an Australian, I am embarrassed to admit that the first analysis of Aboriginal dance I have seen in popular form should have come from overseas newspapers. 1988 is nearly here. Couldn’t we have a tour like this a little closer to home by then?

THEATRE AUSTRALIA NOVEMBER 1981

ADT Sydney season — mixed reactions by Bill Shoubridge Reactions were mixed on the Sydney debut of the Australian Dance Theatre; some detested the theatrics and longuers of Wildsiars while adoring the meatier works in their repertory programme, others found the company in general a refreshing antidote to the Australian Ballet and Sydney Dance Company, while others still were rather dispirited by a somewhat flat, unprojecting greyness about the dancers that led folks to think that life must be pretty grim these days in Adelaide. There are parts of all three reactions that I share; the debut wasn’t the earthshattering success that some had thought it would be, but neither was it unrewarding or uninteresting. Having last seen ADT for an extended period over two years ago, I feel it now has all of the signs of falling into the same hole that many overseas small companies have fallen into. It is that dangerous area called the ensemble. In part, and for certain reasons, it is praiseworthy and necessary to build up a repertoire around a certain ensemble of dancers, they give the works depth and authority, but what happens when some of the dancers leave the ensemble? Either the works that were reliant on certain dancers have to be shelved or the leader has to go through the tedious process of teaching the works to new dancers, with no great assurance that they will have the same impact. This is what has happened to at least two works in the current ADT repertoire, Taylor's Wildsiars and Bruce’s Labyrinth. Because Alain Israel has left the com pany, the lead male part in Wildsiars is taken over by Robert Canning, who, perhaps because of familiarity or of learning the part second-hand, is over intense (which becomes extremely weary ing in due course) and is therefore one dimensional in his attack. Also because of Joe Scoglio and Julia Blakie no longer dancing two of the other three lead parts, the concept and choreography w-here they enter the drama are ever more aereated than was formerly apparent. Of Wildsiars itself, taken in toto, (and because the AETT made it the "big sell" of the season), it still retains its stone-cold,

glazed sensuality, but the fabric is starting to come unpicked. It is wearing thin, which is hardly surprising since Nigel Triffit's obscurantism and piffle was thin in the first place. Frankly I think it’s time the company put the work to bed for a nice long rest. The lack of depth and cohesion in Christopher Bruce’s Labyrinth can also be put down (in part) to the turnover in the company, the other part could have been due to too little rehearsal. The theme is still powerful, its starting point being the Minotaur legend and continuing into deep mental and spiritual corridors, but the dancing is haphazard. Christopher Bruce created the lead part in Glen Tetley’s Pierrot Lunaire, he is an avowed fan of Tetley’s style and that shows in Labyrinth. Many of the Tetley thumb prints are there, the "aesthetic wrestling" grapples that suddenly, and for no choreo graphic reason, burst out into runs and high held lifts. That style is transmuted and intensified into Bruce’s own style and because of this, and because the ballet is set at such a high emotional volume, there has to be a rigorous and careful sense of pacing or else it just becomes frenetic. There was little pacing in the recent revival, and it was hysterical. Conversely, Taylor’s Flibbertigibbet is as funny, or even funnier, than it was when I witnessed its premiere and that is because the work is always growing; in width and in subtlety it is a constantly evolving amoeba of a ballet, and any change of personnel will put its own stamp on it. Which brings me to my second point of the dangers of "ensemble" companies. Putting so much emphasis on creating works solely out of their collective ranks, especially encouraging untried and some times unready talent to choreograph, they run a danger of getting a body of works which, if not quite downright repetitious and plagiarist, can become more than a little incestuous. Margaret Wilson, for example, has in Paradigm, her first "professional" ballet, managed to transmute the ideas and spiritual ennui endemic to Beckett's Wait ing for Godot. She puts three characters in tights and overcoats on a bare stage, she gives them a couple of suitcases to carry around and play with and invests them with a feeling of people endlessly in transit. In place of dialogue chasing its own tail, she has a series of banal power games soundlessly enacted and bits of dancing always re-

THEATRE AUSTRALIA NOVEMBER 1981 turning as if they’re on a treadmill. All well and good but then, toward the end, she gives the three characters a section of bravura performance, very fast port de bras, runs, high leaps and turns. It is, in its way, reminiscent of the great nonsense speech of Lucky in the Beckett play, but the trouble is that unlike speech, the dancing is eminently reasonable and sensible because she has given it structure, pace and timing. It is a well thought out pas de trois and not a babble, as the theme she has hitherto been careful to underline is shattered, sense and order has come into a senseless world, one doesn’t know what to make of it or where to put the eyes. Over and above this, there are choreo graphic reminiscences in it of Bruce’s or Taylor's or Scoglio’s ballets (those stiff shoulders, droopy arms, hunched backs, angular split leaps and aimless runnings). This is what I mean about creative incest and it is worrying. If she can arrive at a kernel of unique dance language (Wilson out of Taylor/Scoglio as in Paul Taylor out of Martha Graham) we have a choreo graphic presence to look forward to. Musically speaking Joe Scoglio is a conoisseur; he's not afraid of BIG musical pieces (late Beethoven string quartets, Debussy’s La Mer and now Mahler's Song o f the Earth) which is refreshing when so many choreographers shy aw-ay from them (I hope he’ll do something to a Stravinsky score for that man’s centenary next year). Claire Stonier. Margaret Wilson. Vanessa McIntosh. Roslyn Watson. Linda Gay and Pamela Buckman in Scoglio s Winter by Spring.

What I also hope is that he will learn to walk around inside this music and not stand awed in front of it as he has done in the past. I can’t speak of the Beethoven ballet, but the La Mer ballet for the SDC drowned him, and the Mahler score now has him wrestling furiously. Mahler’s Song o f the Earth which Scoglio has used for his Winter by Spring is a big score with a myriad traps and turbulences within it for the choreo grapher. Scoglio’s ballet is subtle and bucolic, Mahlers cycle is about spiritual and emotional travels. Scoglio has not used the full score and therefore apart from such cavalier treatment of a masterpiece, the ballet cannot work because it is at odds with its music (has Scoglio ever listened to the words in the Mahler score?). Surely he could have used more apt material from the same composer? Das Knaben Wunderhorn perhaps or Songs o f a Wayfarer. To anyone knowing the music, the ballet is a piddling apology, therefore one has to effectively forget the music to get to the ballet. For the fact is it is a lovely ballet. Scoglio knows how to build his moments in terms of architecture, placing, delinea tion and focus, he can make dancers look like real people on stage not just signals: he can build a palpable world. It is just that what he says has little bearing on what the music is saying or doing, the emotions and events in the ballet are an approximation of the music but they are hopelessly diluted. Jonathan Taylor's Transfigured Night suffers from the same bind; it is ballet that

listens only to the sonic sobs and cres cendoes and reacts to them (wearing itself out in the process). While most of the company rush end lessly on and off the stage, creating tension merely by this action and not by any created gesture, Margaret Wilson and Ronald Van den Berg go through the neurotic, extended pas de deux ot trans gression. guilt and forgiveness which personified the poem that inspired the music originally. They tear a passion to tatters with breathtaking leaps and catches and gigantic involved lifts that out-Bolshoi the Bolshoi in their grandiloquence. It is fantastic to watch, very big, very theatrical but ultimately very one dimensional, just like ballet as a whole, it is a masterpiece but a masterpiece of theatrical frisson. The same choreographer’s Broken Head is worlds away from all this but it too is theatrical — very. It is a journey into the spiritual lower depths of modern-day youth. It is hard headed, brassy faced and violent; emo tionally bereft but full of compassion. As an idea, an evocation of frustration and repression in modern day youth it is timeless. But with its choreography, music (Brian Eno) and costume (tout monde de punque) it is a ballet that will date very quickly. Some have likened it to something out of West Side Story, but the sense of that work is of a violent community feuding within itself, this ballet is of social castoffs violent against everything and nothing. There is ennui, there is desolation, splenetic outbursts and the spiritual void. Much as been made of the obscene language in the pas de deux (moments of stasis contrasted with tortured writhings of hate), but the words are immaterial (it is not necessary that you understand them just the feelings that generate them). The pas de deux is the volcanic centre of the work but the closing is the climax, the saddest part of all. Each ot these isolated victims reaches out to another but each in turn is spurned. Hitherto the work has worn its social conscience on its sleeve but it is here that one sees under the display to the wilderness beneath. If there could have been more showings of these repertory ballets in the Sydney season rather than having them just squashed in at the end of Wi/dstars run we could have got to know more about the Australian Dance Theatre. As is, 1 hope they will return again next year — Sydney needs to see stuff like this as well as the SDC.

THEATRE AUSTRALIA NOVEMBER 1981

ACT

HUMAN VEINS DANCE THEATRE Playhouse (496488): End O f A Dream. On past standards, this should be an interesting evening. Nov 12-21.

NSW

ABORIGINAL/ISLANDER DANCE THEATRE Footbridge Theatre (Union Theatre), Sydney Uni (6607571): Traditional Aboriginal and Torres Strait Islander dance and modern dance on the seam of unity between Aboriginal and Islander people. Nov 25-29. AUSTRALIAN BALLET Regent Theatre (2647988): Swan Lake; producer, Anne Woolliams; designer, Tom Lingwood; music by Tchaikovsky. Worth seeing this old favourite for its strong production. Nov 3-23. Opera Theatre, SOH (20588): The Hunchback o f Notre Dame; producer, George Ogilvie: choreographer, Bruce Wells; designer, Kristian Fredrikson. Sydney's first look at the national com pany’s latest full-length venture. Starts Nov 27.

DANCE MOB A new Christmas production yet to be named. Starts Nov 30.

TAS

TASMANIAN DANCE COMPANY (316878) Will tour prim ary and secondary schools in Nov with programs tailored for each. Choreography by Graeme Watson, Louise Burns, Jenny Kinder, Christine Babinskas, Bob Thorneycroft and Neil Adams.

VIC

AUSTRALIAN CONTEMPORARY DANCE COMPANY Emanations, choreographed by Ron Bekker and Pop Music, choreo graphed by Chris Jannides. At Springding — the Geelong Festival. Nov 1. AUSTRALIAN DANCE THEATRE National Theatre (5340221): Fools Dream. A new work choreographed by

Julia Blaikie, Margaret Wilson and John Salisbury in an unusual collaboration. Nov 19-28. DANCE EXCHANGE Mill Theatre (052/222318): Nanatte Hassall and Russell Dumas in performances by Australia’s leading post-m odern group. Nov 4, 5. MOVING ARTS (4195993) Performances in schools throughout Nov.

WA BALLET COMPANY His Majesty's Theatre (3216288). Cinderella, choreographed by Garth Welch. Nov 23-28. School performances Nov 17-20 at 2.45pm.

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depended on the twiddling of knobs. The gamblers left musical results to chance, so that any single piece never sounded the same way twice; they would have supplied a monkey with a typewriter in the hope that he would write a Shakespearean drama. Category Four were the hoaxers; some deliberately hoaxed the public, others hoaxed themselves as well working on the Emperor’s Clothes principle, persuading governments to fund them and critics to discover hidden meanings in their work of which they had been totally unaware. It was all a fascinating sociological mirror; art, after all, is supposed to reflect society. And the reason for my recalling it was the first Australian performance of the Sinfonia by Luciano Berio, recently per petrated in the Sydney Opera House Concert Hall by the Sydney Symphony Orchestra with the New Swingle Singers under the direction of Dalia Atlas, the Israeli conductor who has proved that women can plant their feet as firmly on the conductor’s podium as any mere male. We heard an excellent performance of a work that harboured a reunion of avant-garde techniques. The Swingles whispered, shouted, babbled, declaimed, even sang, in tongues from English to Hebrew (in deference, presumably, to the conductor’s nationality) and in styles from Joycean stream-of-consciousness to Schoenbergian sprechgesang, from cocktail party chatter to the amplified hubbub of cacophony in an airport departure lounge at peak hours. Not to be outdone, the orchestra — heavily reinforced in the percussion department fights its own battle with intelligibility, frequently basing its melodic material, if you can call it that, on the third movement of Mahler’s Resurrection Sym phony which floats in and out like thoughts between dreaming and waking. But then, there was much during the month to put a contented grin of satis faction on traditionalist visages as well. In Sydney, for instance, two symphonies that once upon a time seemed to guarantee the unabated continuance of tradition into the 20th century — Mahler No 4 (1900) and Elgar No 2 (1911) — received welldisciplined and high-spirited performances under Sir Charles Mackerras, who gave a foretaste of the authority he will be bringing next year to his post as Chief Conductor of the Sydney Symphony Orchestra. The soloist who appeared with him was the Canadian mezzo-soprano 62

Joan Patenaude-Yarnell, firm of voice and pitch but not quite attuned to the in sinuating subtlety of Rimbaud’s poems and Britten’s music in Les Illuminations. Good news and bad news combined to keep me in touch with plenty of live music from interstate. The good news was the existence of many direct (as distinct fro taped and delayed) concert broadcasts vouchsafed by the ABC on FM and AM, and by the volunteer-operated community FM radio station 2-MBS, dedicated to serious music. The bad news was an i n d is p o s itio n (to use an a r tis tic euphemism) which stops me from attend ing all but one or two actual live music events. So let’s listen interstate, anti clockwise. The West A u stra lia n Sym phony O rc h e stra sounded w ell-rehearsed, compact and keen when Gerald Krug conducted it in what can be an irksome assignment — partnership for finalists in the ABC I n stru m e n ta l and Vocal Competition. The finalists were Jolanta Nagacek, a strong-voiced Polish-born mezzo-soprano from Perth, and the nimble Tasmanian flautist Jane Dickie. From the Adelaide Festival Theatre came the Adelaide Symphony Orchestra under Jose Serebrier; though not quite immune to ragged chording, it sounded full of vigour in Brahms No 2 and a romantic Russian-flavoured movement by the conductor. Soloist was Jiri Tancibudek, naturally confident in the Oboe Concerto written for him in the mid-1950s by Martinu. From the same city there was to be heard the very elegant Adelaide Chamber Orchestra, and a baroque program from Musica Viva’s newest import, the English Concert with director - harpsichordist Trevor Pinnock; apart from a few uneasy early notes and a tinnysounding keyboard instrument, theirs was marvellously buoyant playing. Chambermusic also was directly broadcast from Hobart, where fluent performers Robert and Alexandra Macindoe (violin and harp) and Jane Dickie performed works by Goossens and Badings. And so round to Melbourne, whence came another ABC Instrumental and Vocal Competition finals concert, again with the Melbourne Symphony Orchestra in a state of com petence, conducted by the ubiquitous Patrick Thomas and employing Brisbane viola player Brett Dean and Canberra pianist Robert Zocchi as soloists. And to

THEATRE AUSTRALIA NOVEMBER 1981

complete the coastal trajectory, there was new music by Brumby and Carr to be heard from Brisbane. But it was in Sydney on the last day of September that we faced the block-buster of the month. This was Wagnerian. Götterdämmerung (Twilight Of The Gods) was revealed to the long Ring-less Australian public by means of a concert performance (following earlier equivalent performances of the second opera of the cycle. Die Walküre, in Melbourne) which joined the efforts of the ABC, represented by the Sydney Symphony Orchestra and its ConductorIn-Chief-Elect Sir Charles Mackerras to the vocal resources of the Australian Opera and Philharmonia Society. The c o n d u c tin g of Sir Charles Mackerras was totally authoritative, and if the orchestral response occasionally harboured a minor misdemeanour especially in the brass, often cruelly treated by Wagner’s scoring — this was hardly surprising. The three /?mg-leaders for the singing accolades were Rita Hunter as a Brunnhilde with penetrating yet eminently smooth soprano tones of great beauty, Bruce Martin as Hagen with a malignant cutting edge in his fierce and powerful bass, and Margreta Elkins, equally dramatic whether dressed in black as the second Norn weaving the future of the world, or in green as Waltraute, the Valkyrie who brings Brunnhilde unsoli cited advice from Wotan, troubled chair man of the divine Board of Directors. The chief vocal disappointment was the Siegfried of Jon Weaving. He is a singer who most needs to reinforce the im pression left by a far from commanding voice with the lively interactions of stage presence; in a concert version he emerged as colourless, even insipid, devoid of the necessary heroic quality. The other singers were generally more than satisfactory. Robert Allman improved steadily in diction and assurance as Gunther, with Nance Grant as his sister Gutrune; Raymond Myers made much of the brief appearance of the sub-aqueous goldguardian Alberich, Lauris Elms and Catharine Duval were the other Norns, and Rhonda Bruce, Ailene Fischer and Lesley Stender the flotsam Rhein maidens. Wagnerians might have had some just ification for detecting glints of an operatic dawn behind this momentous twilight.

Documents to study Shopfront Documents, $20 plus $2 p&p from Shopfront. The Chapel Perilous, by Dorothy Hewett. Currency Press, rrp $6.95. Foreskin’s Lament by Greg McGee. Price Milburn/Currency Press, rrp $5.50. by John McCallum 1 have never seen a production by Shopfront Theatre, and nothing in their latest publication, Shopfront Documents particularly makes me want to, and yet it is one of the most interesting and stimulating theatre publications to have come my way in a long time. This apparant contradiction is explainable largely by the very energy and commitment with which Shopfront pursues its community, youth centred aims. Granted that they are firmly rooted in their community (the St George/Canter bury region of Sydney) and that their work at all levels is entirely centred around the kids who own and virtually run the place, there seems very little that Shopfront doesn’t do. They have extensive, free workshops in a wide variety of theatre skills, they mount full productions in their own fully-equipped 300 seat theatre, they have a Touring Company, they have TV and animation facilities, and they seem to be the most energetic fund-raisers in Australian theatre. Behind all this there is a committed ideology of what function theatre should play in a community and in the creative and personal development of children. You might call them romantic and sentimental if their theatre didn’t seem to be surviving so well in these days of financial crisis. Shopfront Documents is described as a "Resource Kit" but it is as much a mammoth self-advertisement with articles; reprints from the Shopfront magazine. Roles; synopses and full playscripts; copies of annual reports; even flyers and posters from their more success ful shows. It is informed throughout by the refreshing, lively, relaxed style of all their publicity, and enriched by a deep sense of serious commitment, particularly in the personal introductions and articles by Shopfront’s guiding spirit, Errol Bray. It is difficult to know exactly how useful Shopfront Documents will be to outsiders. Certainly it is a useful source of ideas and advice as to how to run a community theatre company. As a purely scholarly resource it is an interesting record of one

company’s struggle to survive. Like many such accounts of drama and theatre work with children, however, from Heathcote and Slade on, it is very much a personal success story. Not everyone can be Dorothy Heathcote, or even Errol Bray, and there is no reason why they should try. If community theatre is really going to take off then a way has to be found either to train the charismatic leader-figures it seems so far to require, or to develop a system of running the theatres which does

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not need them. So far we seem to be developing a Great Person Theory of Theatre, which looks odd alongside the co operative, ensemble ideals those Great People aspire to. Shopfront Documents can be obtained from Shopfront (88 Carlton Parade, Carlton, NSW 2218) for $20 plus $2 p&p, or from the Performing Arts Bookshop in Sydney. Dorothy Hewett’s The Chape! Perilous has not so much slipped into an important place in the repertoire, as slipped into an important place in the minds of many people who might not otherwise take much interest in the theatre. It is not often revived professionally (what Australian play is?) but it is studied extensively in colleges and universities, and read and discussed widely in the real world outside the professional companies. Its heroine, Sally Banner, has become, as Jack Hibberd put it in a rather different context, "mythically implanted in the nation’s consciousness". The play is now re-released by Currency in a completely new edition, proudly stamped on the cover, "Not for sale in Western Australia". The main improve ment over the earlier edition is the inclusion of all of the original music by Frank Arndt, which in itself should be a strong enough reason for people to lock up their old editions and get the new. There is also a new introduction by Dorothy Hewett in which she defends the ending and recounts some of the details of the play’s genesis. Finally there is another playscript in the Price Milburn/Currency series of New Zealand plays. Greg McGee’s Foreskin's Lament is what used to be called a "strong drama" about the sheer bloody awfulness of Rugby League as it is played, and a lament for the great and noble game it could have been. Greg McGee used to play Rugby for New Zealand, but apparantly stopped to write plays. The central character, Foreskin, is very subjectively written. New Zealand playwrights seem to have a tendency to put in parentheses all the things the characters would have said if they hadn’t been interrupted by other characters, and here this is a symptom of the play’s main weakness. It is very overwritten, and large sections of dialogue are too clever by half. It has an extra ordinary closing monologue which must be virtually impossible to play, and which to an Australian reader at least is incomprehensible to read.

THEATRE AUSTRALIA NOVEMBER 1981

DAVID PARKER’S 1982 ‘LIMELIGHT’ CALENDER These thirteen superbly reproduced Black and White Photographs by this Award Winning Show Business Photographer make an ideal gift for the Ballet, Theatre or Film Lover. The Limited Edition Calender is 40cm square with each print suitable for framing. Price $15.50 plus $2.50 pack & post. Available from DAVID PARKER PHOTOGRAPHY, 14 Lang Street, South Varra, Vic. 3141

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15. Basic arrangement of fish in the head (9) 18. He coulq be friendly or festive (8) 21. Spots some pointed pastries (7) ACROSS 22. He’s isolated with fifty-one, right? (5) 1. Miraculous velocipede — one of four? 24. Sore point for those who picket, we (3,7,5) hear (4) 9. This lodger could also be jocund (5) 25. Creature Seen in Nepal with the naked 10. Rioting sheep addressing over PA eye time and again (4) system (9) 11. Outside the seed record is like a wave Name .......................................................... ( 8) 12. Polecat perceived through a cloud of pollution (4) Address 14. One whom we should forgive? (10) 16. Upper crust insectivore backs Prohibition (4) 19. It’s as well to find it in total solitude P/code (4) 20. Tetchily rasp noises of disparagement The first correct entry drawn on November ( 10) 25 will receive one year’s free subscirption 22. The shoemaker’s ultimate . . . (4) to T A . 23. . . . left role in this act (8) The winner of last month’s crossword was 26. Can contain land mass (9) B Roger-Jones of Lower Beechmont, Qld. 27. Noted brews found in the valleys (5) 28. Viler scribe lads scuffle at desert jg O g H S P M I meeting (10,5) DOWN 1. As water falls from the mountain to lease out illness (10).

2. Urge boy to approach queens with small hourglasses (3,6) 3. African point (briar) used in reel (8) 4. Volatile sire spurs unexpected events

(9) 5. She introduces herself in reverse (4) 6. Da nk s he l l f i s h d e mo n s t r a t e possession (6) 7. Clasp around Heather (5) 8. Therefore backed into a monster (4) 13. Supports contribution butcher makes to secret European heads (10)

THEATRE AUSTRALIA NOVEMBER 1981

an n n □ n an a n □ rc ranneri h is n c p iz in H

annnann atsRDgn^ ftrrcnn annEnnnBQ □ □ n n H n K G i csG E E nna raaaecm

The Sydney Theatre Company Presents

JO H N BELL as

Cyrano de Bergerac by Edmund Rostand in a new translation by Louis Nowra *

with

ROBYN RON ROBIN ANDREW NEVIN HADDRICK RAMSAY McFARLANE Directed by

RICHARD WHERRETT Set design by

Costume design by

Original music

JOHN STODDART

LUCIANA ARRIGHI

SARAH deJONG

SYDNEY OPERA HOUSE OPERA THEATRE NOVEMBER 6 - 2 1 , 1981 Evenings at 7.30 pm Saturday Matinee at 1.30 pm

PREFERENTIAL^ MAIL'BOOKINGS ÂRËNÔWÔPÊN

- S O HURRY. You may personally collect your Festival Booking Brochure in your capital city.

SYDNEY S.A. Government Travel Centre, 402 George Street. Australian Elizabethan Theatre Trust, 153 Dowling Street, Potts Point. Muslca Viva, 68 Clarence Street. Nimrod Theatre, 500 Elizabeth Street, Surrey Hills.

MELBOURNE S A. Government Travel Centre, 25 Elizabeth Street Playbox Theatre, 55 Exhibition Street.

BRISBANE ABC Box Office, Ground Floor National Bank House, Corner Creek & Adelaide Streets (Closed Saturday). Queensland Performing Arts Trust, Watkins Place, 20th Floor, 288 Edward Street. Queensland Arts Council, 169 Mary Street. Directorate of Cultural Activities, 6th Floor, Comalco House, Corner George & Ann Streets.

ADELAIDE Adelaide Festival Centre. Opera Theatre, Grote Street. Any Bass Ticket Outlet.

PERTH Perth Concert Hall, 5 St. George’s Terrace. His Majesty’s Theatre, 825 Hay Street.

CANBERRA Canberra Theatre, Civic Square, Canberra City. Tourist Information Centre, Corner London Circuit & West Row, Canberra City.

HOBART Tasmanian Theatre Company, 68 Collins Street. Theatre Royal, 29 Campbell Street.

a t your local

Holiday Travel O ffice during business hours 9 am-5 pm Monday-Friday

9 am -11.30 am Saturday